Rieterkirche St. Marien and Christophorus

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The Rieterkirche from the south 2019
View into the choir room
Portal with foundation stone

St. Marien und Christophorus , usually called Rieterkirche , is the Evangelical Lutheran church in Kalbensteinberg , a district of the market town of Absberg in the central Franconian district of Weißenburg-Gunzenhausen . It is the parish church of the parish association Kalbensteinberg / Fünfbronn in the Evangelical Lutheran deanery Gunzenhausen . The eponymous Rieter von Kornburg , as the founder, viewed the church as a personal monument and furnished it with numerous works of art. It is remarkable that the church and its inventory never fell victim to a fire, war or iconoclasm , which is why its original art treasures make the “Franconian Treasure Chest” one of the most culturally and historically valuable monuments in the region. The inventory includes - unusual for a Protestant church - a large number of Catholic sculptures and statues of saints, a Russian Orthodox icon by Theodor Stratelates as the most valuable item in the collection, and a terracotta figure of Mary with a child , which ensured that the Rieterkirche had one until the Reformation Was a pilgrimage church .

Geographical location

Steeple

The Rieterkirche, which characterizes the townscape, is located east of the town's main street on a lane in the center of Kalbensteinberg , which is a listed building as a building ensemble (file number E-5-77-111-1). The building stands at 487 meters above  sea ​​level and is surrounded by listed farmhouses in a small square in front of the south front of the church, where the parsonage and the old rectory are also located. The postal address is Kalbensteinberg 63. The Way of St. James to Santiago de Compostela leads past the church. The parish includes the places Obererlbach and Straßenhaus (both municipality of Haundorf ) and Untererlbach (town of Spalt ).

Naming

The parish church has St. Mary, mother of Jesus , and St. Christopher as patrons . Only the Marian patronage is documented. When Christophorus was added as the second patronage is unknown; In any case, it does not come from the pre-Reformation period. Possibly it goes back to an unreliable description of the parish in the 19th century, maybe to an error by Pastor Medicus. However, the church is usually not called Marien- und Christophoruskirche, but "Rieterkirche". The name comes from the Rieter von Kornburg family, a patrician family in the imperial city of Nuremberg , who ruled the village until the 18th century, regarded the building as a personal monument and furnished it with art treasures. This led to the church being nicknamed " Franconian Treasure Chest". In the local East Franconian dialect , the building is called "Kalber Kirch".

history

The middle age

History signs with the coats of arms of Oettingen, Stromer and Wernitzer

The earliest mention calf Steinberg's found in a document of 20 June 1248, the Pope Innocent IV. The monastery Roggenburg confirmed his possessions in calf Steinberg. The monastery initially owned around two thirds of the town's property. On January 4, 1412, Count Ludwig XI. von Oettingen took the possessions from the monastery and sold them on January 20, 1412 to the Nuremberg patrician widow Agnes Stromer . Their daughter Margaretha had been married to Andreas Wernitzer from Rothenburg ob der Tauber since 1402 and took over the inheritance together with her husband in 1414 after her mother's death. After the occurrence of legal problems, the goods were handed over to Andreas Wernitzer on April 10, 1418 by the Imperial Court in Constance. In 1437 Andreas Wernitzer's three children each inherited a third of his Kalbensteinberg property. Daughter Klara was married to the Nuremberg patrician Hans Rieter († 1437), who bought her inheritance from Klara's siblings on October 25, 1437. In 1437 Kalbensteinberg came into the possession of the Rieter. At that time there was a previous church in the same place, which was smaller and lower than today's church and was consecrated to Mary, her mother Anna and Saints George and Nicholas .

Builder Paul Rieter (1430–1487), who had leased the majorate of Kalbensteinberg from his brother Andreas (1428–1488), had the foundation stone laid for a new church on July 13, 1464, the day of St. Margaret . The construction work lasted until 1488. It was financed through letters of indulgence . The consecration as Marienkirche with an altar consecration in the nave took place on September 10, 1469, the Sunday after the birth of the Virgin, by Auxiliary Bishop Leonhard Pilhamer ; Auxiliary Bishop Jakob Raschauer consecrated the choir, the high altar and the church on May 5, 1488. The feast of the consecration refers to the consecration of 1469, but was postponed from the Sunday after the birth of Mary to the second Sunday in October in 1870. Until the Reformation , the Rieterkirche was a pilgrimage church. The goal of the pilgrimage was a terracotta figure of Mary with a child who, according to legend, wept drops of blood and is now in the choir room. Before the Reformation under Pastor Wolfgang Reutaler (or Reintaler) was introduced in 1542 and most of the inventory was removed from the church, there were also relics of St. Walburga , the 11,000 virgins and St. Christopher in the church.

The redesign of the church by Hans Rieter at the beginning of the 17th century

Death shields on the north wall of the nave

From 1609 to 1613, Hans Rieter (1564–1626), an art collector, had his church restored and redecorated with late Gothic works of art that had been removed from Nuremberg churches due to the Reformation. Works that had already been part of the furnishings of the Rieterkirche before the Reformation and were then moved to the attic were also presented again. He had three winged altars made and the medieval pictures and statues inserted into them. The exact manufacturer, place and time of manufacture of most objects are not known. The selection of works explains the unusual inventory of Catholic pictures and sculptures in a Protestant church. Hans Rieter gave orders for new works to the painters Nicolaus Oeller (1554–1633) (also known as Nikolaus Öhler) and Georg Gärtner and to the carver Christoph Großdietz (also known as Christoph Grostitz and proven to be a citizen of Nuremberg in 1590). As part of the renovation work, the pulpit and galleries were built, the crypt was laid out and the field ceiling was drawn in in the nave. The choir walls were frescoed, in the nave and along the parish galleries just below the ceiling a total of 204 coats of arms were painted as a frieze , which were later whitewashed and of which a few were exposed during renovations in the years 1929 to 1930 and 1990 to 1992. Fifteen newly created death shields were hung under the frieze. The new construction of the roof structure of the nave, which had become necessary due to massive damage to the roof structure, was particularly complex. In total, the construction costs amounted to 2,866 guilders, 5 pounds and 12 1/2 pfennigs and were financed by money from the early mass in Kornburg, the tithe and from the available cash of the parish. The attic was used as a grain and hop store until this was prohibited by the Nuremberg City Council in 1914.

The 17th to 20th centuries

Sacristy and half-timbered tower with access to the manorial boxes

The church survived the Thirty Years War unscathed. In 1649 the parish received a pastor again, and from 1654 its own church registers were kept again.

After the Rieter died out in 1753, the church building came into the possession of the Nuremberg Holy Spirit Hospital . In 1806 the city lost its patronage rights to the Kingdom of Bavaria as part of mediatization and regained it in 1818, on condition that the church be preserved. Until 1970 the building was administered by the city of Nuremberg as administrator of the Rieterstiftung and was then transferred to the Bavarian regional church .

Until the 19th century Catholic pilgrims came to the Protestant Rieterkirche and worshiped the figures of Mary.

In 1955, the church almost fell victim to a fire when neighboring farms burned down. Renovations took place from 1929 to 1930, 1972 and from 1990 to 1992.

The 21st century

In 2018 and 2019, the church was extensively renovated in two construction phases with a construction volume of 1.1 million euros. In the first construction phase, the tower and choir were repaired. Among other things, damaged wood on the roof structure was replaced and the roof covering renewed. In the second construction phase, damage to the nave was repaired, the roof of which was also re-covered. Since a biological reduction of wood pests with parasitic wasps was not successful, chemical agents were now used to control pests. It has not yet been determined when the outside facilities of the church will be renewed in a third construction phase.

The Rieterkirche was voted Church of the Month for September 2018 by the KiBa Foundation ; In the candidacy for the foundation award Church of the Year 2019, the Rieterkirche achieved 3rd place. The church is used regularly for classical concerts and music events. For reasons of theft protection, it is not possible to enter the church outside of worship times, guided tours and events. The building is equipped with an alarm system that was renewed in 2018/19.

Building description

Reticulated vault in the choir
Apex of the choir arch

The late Gothic hall church with its choir, which is raised opposite the nave, is reminiscent of the two Nuremberg parish churches St. Sebald and St. Lorenz . The building made of Rhaetian sandstone blocks with a gable roof and a western tower with a pointed helmet is located within the medieval cemetery wall, which was changed in the 19th century. While the roof of the choir dates from the construction time of 1477, that of the nave was rebuilt in 1609. The building, classified as a fortified church , has a rare, self-fortified nave. A sacristy is attached to the south wall of the choir. In a small, equipped with openings in form of slits key stairs tower framework, which is similar to the Southern outer wall of the chorus and the east face of the Sakristei, can for both power lodges the Rieter be ascended. Above the pointed arched entrance portal on the south side of the nave there is a relief of the Rieter's coat of arms and an inscription that names the date when the foundation stone was laid for the church and indicates Mary as the patronage. The opposite portal in the north wall is locked. A stone plinth and a coffin cornice encircle the church, which is 36 meters long including the tower. The nave is 17.6 meters high and 13.8 meters wide. The choir is 20.75 meters high, the church tower 45 meters high.

The retracted, net-vaulted choir is 5/8 closed and has five three-lane pointed arched windows with seven lines each and three head panes with tracery. The Gothic choir and the front area of ​​the nave, in which the side altars are located, are raised by 3 steps. The Rieter crypt, laid out in 1609, is located under the one-bay choir. The pointed choir arch has a sloping wall. The rectangular, single-nave nave with four window axes is spanned by a flat wooden coffered ceiling, which cuts into the choir arch, and in the middle of which the coats of arms of Hans Rieter (1564–1626) and his three wives are attached. Their names and the year 1620 are written on a tape. The nave is illuminated on the north and south walls by three two-part pointed arch windows with Gothic tracery.

On the south wall of the choir above the entrance to the sacristy and on the east wall of the nave above the right side altar, a wooden gallery is attached as a manorial box. They are built in the Renaissance style and decorated with richly carved post-Gothic tracery parapets. The six-part window, which can be seen from the choir between the apex of the choir arch and the coffered ceiling of the nave, and with which the attic of the nave ends to the east, also has a similar parapet.

Furnishing

Since the church was spared fires and looting, it has a relatively large collection of valuable objects.

Choir room

Pietà

The keystone of the Gothic reticulated vault is adorned with the coat of arms of the Rieter, the double-tailed mermaid . In the fields around the keystone, the coats of arms of family members are painted in a circle, some of which are provided with dates. In the east it is the coat of arms of the legendary Kalbenberger. This is followed in a clockwise direction by the shields of Maria von Imhoff (1590), Rieter von Kalbensteinberg, Wernitzer (1437), Rieter von Bocksberg, Seckendorff (1447), Rieter von Kornburg and Maria Blandina von Eyb (1610). Three other dates indicate the year of the laying of the foundation stone (1464) and the completion (1488) of the church, as well as that of the painting of the choir vault (1610).

Main altar

Crescent Madonna with Crowning Angels (detail)

The Renaissance high altar from 1611, to which five steps lead up, is designed as a triptych . The inside of the closable wings show putti heads in a white-blue sky. The outside of the wings are painted with floral tendrils. The retable is furnished with late Gothic sculptures. In the center shrine stands a radiant Madonna with the baby Jesus on her right arm on a crescent moon pointing downwards, which is decorated with a face. Maria is holding an apple in her left hand. It is placed in front of a blue background and is framed by veil boards. The statue and the two angels holding a crown over their head date from around 1470 and are considered Nuremberg works. On the cornice of the shrine is a Pietà from the same period in a structure supported by two columns and an arch, on which a crucifixion group with Christ, Mary and John closes the altar at the top. The group is dated to 1490 and 1510 respectively.

On a painting on the predella the founder Hans Rieter (1564–1626), his three wives and his children are shown kneeling, on the left the male family members, on the right the female ones and in the middle in the background Kornburg Castle . The picture was created in 1611 by the Nuremberg painter Nicolaus Oeller. This original version only contained the pictures and dates of the first two wives, Maria Imhoff and Blandina von Eyb. Later more dates were added and in 1620 Martha von Vohenstein, the third wife, was added.

On the back of the predella there is a small round picture with a diameter of 28 centimeters, on which the Virgin Mary is presumably painted with dark yellow brushstrokes on a dark blue background .

Choir window

Choir stalls

The five choir windows donated by Andreas Rieter (1428–1488), the second owner of the Kalbensteinberg Majorate, around 1480 are three-part pointed arch windows with passports, bubbles and nuns' heads. It is probably a Nuremberg work. The founder chose the namesake of family members and their coats of arms as motifs for the stained glass. Of the original 15 rectangular panes with stained glass, which were restored in 1613, 13 have been preserved. Seven panes were placed in the apex of the east window, and two in the bottom rows of the other windows. The two panes of the south window have been missing since 1811.

In the colorful east window of the choir, which is dedicated to the founder and his wives, Saint Veronica is depicted below Saint Andrew on the left with a handkerchief , and on the right Anna herself is depicted. Below the saints are the coats of arms of the founder Andreas Rieter (center) and his two wives, Veronika Rehm von Bocksberg and Anna von Freyberg. Above the crest of the donor's coat of arms, the flower of the Order of the Scale , the shield of the Order of St. George and the emblem of the Aragon Order of Pitchers can be seen. Around the coat of arms hangs the chain of the Antonite Order with an Antonius cross with a hanging bell, which is held by two wild men .

The choir flank windows , which are mainly executed in grisaille painting , were made in a different workshop than the east window. In the north-east window there are pictures of the apostle Johannes and St. Margaret as patron saints of Hans Rieter (1420–1460), the brother of Andreas and first owner of the majorate Kalbensteinberg, and his wife Margarete Holzschuher. In the north window, Saints John and Clare probably remember Hans Rieter († 1437), the father of the founder, and his wife Klara Wernitzer. The south-east window contains pictures of Saints Veronica and Andrew. Two of the founder's children bore these names. The lost panes of the south window represented St. Catherine and probably the Apostle Paul, the patron saint of the builder Paulus Rieter (1430–1487) and his wife Katharina Volckamer.

Repair work on the windows took place in the middle of the 19th century, the last restoration in 1985 in the workshop of Dr. Gottfried Frenzel in Nuremberg.

  • Stained glass on the choir windows

  • Apostle John and Saint Clare

  • Apostle John and Saint Margaret

  • Apostle Andreas, Saint Veronica and Anna the same three with the coat of arms of the donor family

  • Saint Veronica and Apostle Andrew

Choir walls

Saint Margaret

The choir walls are adorned with 13 frescoes by Nicolaus Oeller from the period 1609/13, showing members of the Rieter family in the service of the church. They are shown in their religious robes and hold their family coat of arms in their hands; under them are inscriptions in which the people are briefly introduced. Under the first three frescoes on the left on the north wall hang three history signs, which contain historical data about Kalbensteinberg from the time before the church was built in the upper part and the coats of arms of the von Oettingen, Stromer and Wernitzer families in the lower part.

On the north side of the choir, above the frescoes, there is the epitaph of Anna Catharina von Lindenfels , who died at the age of 18. It contains several memorial messages and in the middle a picture of a girl on clouds above an open coffin. The top is made up of three full coats of arms , behind which there is a putto.

The epitaph Johann Albrecht Andreas Adam Rieters, the last male member of the Rieter family, is inserted in the northeast wall below the choir window. It consists of Altdorf marble with fossil inclusions, in which a text in Latin is engraved. Above is the fallen family coat of arms.

On the south-eastern choir wall, a memorial stone commemorates the dead of the First World War, whose names are assigned to a war year between 1914 and 1918.

Above the entrance to the sacristy hangs a picture of Christ created in 1872, which the pastor at the time had made to cover the Madonna of the Crescent Moon in the main altar.

South side of the choir arch

Several works of art are attached to the south side of the choir arch. On the western arched wall below the gallery is a terracotta figure, created around 1460, depicting Mary with the child. According to legend, the figure is said to have wept drops of blood and was the cause of many pilgrimages in the pre-Reformation period. Presumably water, interspersed with reddish rock particles, seeped from the crown of Mary, into which it could be poured, into her face, which could explain the miracle profane. This Madonna was probably placed in the crypt from 1609 until the time before the First World War.

Palm donkey

At the foot of the arch there is a late Gothic sacrificial stock from the time the church was built with a winding column and an ornate, cuboid headpiece. Above him hangs a small alms board , an oil painting on copper sheet from around 1600. The painting shows how a rich man, recognizable by his precious robes, distributes alms to the needy. A small relief of St. Ottilia is attached directly above the panel, and a relief of St. Jodokus is attached diagonally above both to the left . The figures are late Gothic and date from around 1500. Next to Jodokus, facing the nave, there is a statue of St. Margaret on a console, which is of high quality and possibly from the workshop of Veit Stoss . In her left hand she holds a cross staff, at her feet crouches a dragon, one of her attributes. According to the Dehio manual , the figure is believed to be Swabian and was created around 1500.

Opposite, at the northern end of the choir arch, is the simple pulpit , which, like the baptismal font with a baluster base below the center of the choir arch, dates from 1609.

Choir stalls and sacrament house

On the north and south side of the choir wall, below the frescoes, are the choir stalls from 1490 with carved small drolleries and grotesque figures on the chair backs. It probably comes from a Nuremberg monastery. In 1848 the dorsals were decorated with neo-Gothic tracery and a tracery attachment with a hanging frieze was attached to the stalls.

On the north wall, the choir stalls are joined to the east by the sacrament house from the time the choir was built . The housing, closed with a wrought iron grille , sits on a double pedestal and pillar base and is crowned by a pinnacle-shaped attachment with crabs and tracery panels on the donkey's back .

Palm donkey

Below the pulpit is Palm donkey placed a mobile Gothic carved Palm Sunday - Procession figure . It was created in Nuremberg around 1470 and given to Hans Rieter (1564–1626) as a present from his brother Joachim in the early 17th century. It depicts Jesus , his right hand raised in blessing, on a natural donkey . In his left hand he holds the reins of the animal. The figure stands on a simple plate that is mounted on wooden wheels. Jesus Christ is barefoot, wearing a white tunic , a blue-lined purple colored Pluviale that of a gold and probably with precious stones occupied border is enclosed, and a five-pointed from leaf ornaments shaped crown on his head.

Longhouse

Middle shrine of the north side altar
Closed face of the southern side altar

The north and south walls of the nave each have 10 death shields from members of the Rieter family with inscription plaques at window height  , 15 of them by the carver Christoph Großdietz from the early 17th century. Ten shields from Großdietz hang on the south wall, the remaining five in the eastern half of the north wall. In its western half there are five later shields; the youngest is dedicated to Johann Ludwig Rieter, who died in 1732. Seven inscriptions without death shields are placed on the west wall next to the organ. The shield of Cunrad Kalwenberger from the legendary local nobility of the Kalwenberger with the date of 1340, which is placed above the entrance door, is a forgery from 1610. The knight's helmet with which this shield is provided is a spangenhelm from the 16th century.

Side altars

The two winged altars to the left and right of the choir arch were made at the beginning of the 17th century and decorated with carvings and pictures from the late 15th century. In both retables, two pairs of wings are attached to a central shrine. The sculptures are attributed to Michael Wolgemut's workshop. The prelude-like substructure shows a half-length portrait of Christ (left altar) and Mary (right altar) from 1609, flanked by the coat of arms of Hans Rieter and his first wife, Maria von Imhoff.

The north altar is the more valuable of the two. It consists of a central shrine with sculptures, a fully movable pair of inner wings and two movable outer wings, which, however, can only be rotated by less than 90 degrees and therefore cannot close the altar. The wings are painted on both sides. When open, the statues of Ursula von Köln , Ulrich von Augsburg and Walburga from around 1490/1500 can be seen in the middle shrine from left to right . The left wing has the child murder in Bethlehem as a motif , the right wing the finding of the cross by Empress Helena . When the altar is closed, the folded inner wings show pictures of Andrew and John the Baptist . The then visible inside of the right outer wing depicts St. Peter , the invisible back the evangelist Mark . Since the full width of the altar does not fit between the pulpit and the north wall, the left outer wing with the painting of St. Paul was hung in the choir on the north wall between the pulpit and the choir stalls. The painting on the back of this wing has been destroyed beyond recognition, possibly depicting the Evangelist Johannes . On the cornice of the shrine are the statues of Oswald , Walburga and Otmar von St. Gallen , Hans Rieter from his friend , the Nuremberg council builder Wolf Jacob Stromer .

In its original late Gothic version, the outer pair of wings could also be closed, so that there were three front sides: When the altar was closed, the left wing showed the apostle Paul, the right one Simon Peter. After opening the outer wing, one saw, from left to right, the Evangelist John (?), The Apostle Andrew, John the Baptist and the Evangelist Mark. After opening the inner wings, the retable presented itself as it is currently.

The southern side altar is composed of a central shrine, a pair of movable wings and a pair of inactive wings. The open face contains three paintings: in the middle shrine the outpouring of the Holy Spirit , in the left wing Wolfgang von Regensburg with a bishop's staff and a church model, in the right Barbara von Nicomedia with a chalice and host. When closed, the ascension of Christ can be seen on the outside of the movable wings, St. Aegidius with a doe struck by an arrow in the left inactive wing and Nicholas of Myra with three loaves on a book on the right. From left to right on the cornice of this altar are the statue of a knight in armor with a shield painted with the Rieter coat of arms, the half- length figures of Peter and Mary with the child and a statue of St. Sebastian on a tree trunk, all from around 1480 .

To the right of this group, the statue of St. George is placed on a console that is attached to the east wall of the nave. On horseback and in knight armor, he stabs the dragon lying on the ground with a lance . The work of art is dated to around 1470.

Works of art on the north wall

Below the organ gallery is a picture from the 19th century, which has the wedding of Mary and Joseph as the theme. Below the central window hangs the picture of a large angel flying over a landscape, with a lily in the right hand and a wreath in the left hand, which was probably painted in 1609 by Nicolaus Oeller.

Picture Bible
Picture Bible: Christ appears to Mary Magdalene as a gardener

To the right of the angel picture is the panel Vita Mariae et Christi , which appears under this name for the first time in the account book of Hans Rieter (1564–1626) from 1613 and represents a kind of “ picture Bible ”: On two Gothic panels in a common frame, 56 scenes are shown shown the life of Jesus and Mary. To what extent works by Hans Memling , Michael Wolgemut, Ludwig or Martin Schongauer influenced the representations is unclear. The picture came to the church in March 1609 as a gift from Anna Regina Rieter, Hans Rieter's sister. The painter and the exact place of origin are unknown, the picture Bible probably comes from a Nuremberg master and was created around 1480/90. The original function of the picture is also in the dark.

The picture Bible measures 0.97 × 2.75 meters. Each of the 56 scenes consists of a rectangular painting about 20 centimeters high and 17 centimeters wide, so it is comparable to the size of a miniature in book illumination . The four registers of the two panels each consist of seven images. The first five paintings on the left panel show incidents from the life of Mary and her parents Joachim and Anna, who are only mentioned in the Apocrypha . Only from the sixth image does the content of the Gospels begin with the announcement of the birth of Jesus . After Mary's visit to Elisabeth , the first row of the right panel continues with the birth of Christ, followed by motifs from his childhood. After Jesus' baptism and the temptation by the devil, the healings of the sick and his encounters with the Samaritan woman at Jacob's fountain , the adulteress and Mary and Martha are described. From the 23rd picture the illustrated Bible deals with the Passion of Christ, the events between the entry of Jesus into Jerusalem and his resurrection, which is shown in the 45th picture. This is followed by seven pictures with appearances of the risen Christ before his mother, Mary Magdalene and his disciples, with the walk to Emmaus, the finding of the empty tomb and the conviction of the doubting Thomas . The cycle closes with the Ascension of Christ, the miracle of Pentecost, the death of Mary and the Last Judgment .

Icon of Theodor Stratelates
Icon of Theodor Stratelates
Image 6: Destruction of the pagan statues of gods

The icon of St. Theodor Stratelates hangs under the eastern window . To protect it from light and other environmental influences, it is located in a lockable wooden box on the wall, which is only opened during guided tours or on special occasions.

Origin and meaning

The icon probably comes from a Pskov icon painter and was probably created around 1573. How it got to the Rieterkirche is unknown. Perhaps it was brought back by Philipp Rieter (1566–1635) from a trip or a war trip to Russia or Poland . It can only have come to the church after 1613, as it is not yet mentioned in Hans Rieter's account book. In 1929 it was completely renovated.

The scientific treatise that Johann Alexander Döderlein published on this icon in 1724 is probably the first German monograph on a work of art. The copper engraving it contains is probably the earliest printed pictorial representation of an icon. The treatise marks the beginning of Russian icon research.

description

The icon has a size of 1.37 × 1.07 meters and contains a main picture which is framed by twelve smaller pictures. It is one of the so-called Viten-Icons, in the center of which the saint stands, while important events from his life are illustrated in the peripheral pictures.

In the upper part of each picture, the corresponding part of the story of the saint is told in Russian- Church Slavonic in red letters on a golden background , whereby the raised edge of the icon is also described in places. The sequence of the 12 border images starts at the top left and runs from left to right in each line.

In the middle field, the soldier saint Theodor Stratilates is shown in full size, wearing a breastplate and chain mail. He holds a spear in his left hand and a red seven-pointed cross in his right. A medallion with the image of Abgar is emblazoned on his chest . Somewhat obscured by his shoulders are his helmet and shield. The main picture is surrounded by a two centimeter wide strip, which is painted with green leaf tendrils on a gold background. The edge images show the following scenes:

  1. Saint Theodor Stratelates is born in Euchaita .
  2. The saint sets out to kill a dragon, falls asleep in the wilderness and is awakened by the pious Eusebia, who informs him that the dragon is nearby.
  3. Stratelates fights the dragon and kills him.
  4. Emperor Licinius hears from Theodor and sends soldiers to bring him to Nicomedia . Theodore refuses to go and writes an answer to the emperor, who is supposed to come to see him in Herakleia instead .
  5. The emperor accepts the invitation, takes his golden statues of gods, which Theodor is supposed to worship, and is warmly welcomed by him.
  6. Under the pretext of wanting to anoint them, Theodor has the statues given to him, but at night he smashes them and gives the precious metal to the poor.
  7. Emperor Licinius is enraged about the destruction of the statues of the gods and has Theodore, who is stripped of his clothes, whipped.
  8. He puts Theodor in prison for 5 days without food.
  9. The emperor has Theodor crucified. He is also tortured while hanging on the cross.
  10. The following night, an angel removes him from the cross and heals all of his wounds.
  11. Theodore frees prisoners from their dungeons, and many convert to the Christian faith.
  12. Licinius is angry again and has Theodor beheaded.

From the 4th scene the towers of Herakleia are an integral part of every picture. What is striking about the sixth picture is that three successive scenes are shown side by side in one picture, with St. Theodore being shown there in triplicate. In order to be able to easily recognize the two main characters, Theodor is always highlighted with a golden nimbus and Licinius with a golden crown.

Works of art on the south wall

The 14 emergency helpers

On the south wall of the nave near the side altar there is a picture of the twelve apostles with Matthias instead of Judas and Paul of Tarsus instead of Thaddäus . They stand in a row next to each other with Christ as Salvator mundi in their midst and are named in their golden nimbus. The picture from around 1500, which served as the predella of the high altar before the Reformation, was heavily painted over at the beginning of the 17th century: The globe that Christ is holding in his left hand was given the year 1612 and the coat of arms of Hans Rieter inserted; on the opposite side, the combined coats of arms of his two first women, Maria Imhoff and Blandina von Eyb, were painted on a squared shield.

To the right of the picture of the apostles hangs a painting of the Fourteen Holy Helpers . It was probably created at the beginning of the 16th century by Hans Leonhard Schäufelin from Nördlingen and was probably used as a predella for an altar before the Reformation. The picture shows the emergency helpers side by side with their attributes. The center is made up of Mary with her child on a crescent moon pointing upwards. The depiction of the helper in need, Christophorus, on the far left is his only one in the church, although the church patronage is on him.

organ

organ

When it was redesigned in 1609/13, the church received a positive as a church organ for the first time . After it became unplayable, Johann Andreas Rieter (1593–1676) donated a new positive. The next purchase of an organ is documented for 1790. The purchase of an organ from GF Steinmeyer & Co. is known from 1899 . The present organ was built in 1994 by the Deininger & Renner company from Oettingen in Bavaria in the neo-Gothic case from 1899. It stands on the gallery on the west side of the nave, built in the Renaissance style and decorated with post-Gothic tracery parapets. The organ's disposition is:

I main work
Quintad 16 ′
Principal 8th'
Reed flute 8th'
octave 4 ′
Forest flute 2 ′
Mixture IVf 1 1 ⁄ 3  ′
Trumpet 8th'
II swell
Covered 8th'
Salicional 8th'
Coupling flute 4 ′
Fifth 2 2 ⁄ 3  ′
Principal 2 ′
third 1 3 ⁄ 5  ′
Sharp III-IV 1'
Tremulant
pedal
Sub bass 16 ′
Open bass 8th'
Choral bass 4 ′ + 1 1 ⁄ 3  ′ + 1 ′
Peasant pipe 2 ′
trombone 16 ′
  • Coupling and playing aid: normal coupling
  • Sliding drawer, fully mechanical

Bells

A first bell, 18 quintals and 81 pounds, was hung in the tower in 1469. New bells were acquired in 1540, 1541, 1571 and 1729. From 1729 until the First World War , the church had four bells. In the center of the belfry hung the twelve o'clock bell from 1541, which was cast in 1892. Several years earlier it had cracked when it was ringing and lost its good tone. It was the largest bell and bore the Latin inscription "Gloria patri et filio et spiritui sancto sicut erat in principio et nunc 1541" (Glory to the Father and the Son and the Holy Spirit, as it was in the beginning and now in 1541) and was decorated in four places with reliefs of saints. To the west of it was the medium-sized eleven o'clock bell from 1540, which is the only one that has survived. The eastern bell, the prayer bell, was the smallest of the three, was purchased in Nuremberg in 1729 and was not labeled. It was cast in 1854 by J. A. Kaernlein in Nuremberg because it had been cracked since 1825. The community bells, also known as Schlagbelllein, bought in Nuremberg, installed on May 16, 1571 and cast in 1685, were attached to a porch on the southern tower roof until a lightning strike in 1824 and then hung in the south-facing soundhole of the bell chamber.

In the course of the First World War, the prayer bell and the parish bell were expropriated in 1917 and melted down for war purposes. In 1924 two new bells were commissioned. The city ​​of Nuremberg paid 800 marks for the larger of the two bronze bells , and the municipality itself paid 522 marks for the smaller. On July 20, 1924, the bells were consecrated.

In 1940 the bells were requisitioned again during World War II . Except for the eleven o'clock bell, all were dismantled in the week after February 15, 1942 and taken to the bell cemetery in Hamburg . For twelve years the church had only one bell. On September 17, 1954, the twelve o'clock bell and the prayer bell were replaced by two new bells from Heidelberg . The bells were consecrated on September 26, 1954. Since then the church has had three bells:

Surname Casting year Foundry, casting location Weight Chime inscription
Eleven o'clock bell 1540 Sebald Beheim, Nuremberg 600 kg a AGNVS DEI QVI TOLLIS PECATA MVNDI MISERE 1540
(Lamb of God, who bear the sin of the world, have mercy 1540)
Twelve o'clock bell 1954 Friedrich Wilhelm Schilling, Heidelberg 828 kg f sharp SOLI DEO GLORIA (Glory to God alone)
Prayer bell 1954 Friedrich Wilhelm Schilling, Heidelberg 318 kg H VENI CREATOR SPIRITUS (Come, Creator Spirit).

tower

The bottom four with loopholes provided floors of the church tower , which are offset from each other by tilting ledges were built in the early 1400s and still are from the previous church. From 1507 to 1511 the octagonal upper floor with arched windows with tracery was added and crowned by an octagonal pointed helmet. In 1864 the church tower was raised above the octagon. The tower, the belfry of which dates from the Baroque period , is located on the west side of the church, offset slightly to the south from the main axis. There is a sundial on the south wall of the third floor, and the clock faces of the tower clock on the south and north sides are one floor higher. A cross with a crescent moon and a weather vane are attached to the top of the tower.

sacristy

Round disc with the Entombment of Christ in the sacristy

The sacristy is attached to the southwest corner of the choir. Below the manor's box it is accessible from the choir through a round arched door, which has a richly profiled garment with the Rieter coat of arms and the year of the laying of the foundation stone in the arched shield. It is provided with two narrow, high-rectangular windows and a figured star rib vault , which is painted with coats of arms. On the north and west walls are the names of past pastors from the end of the 15th century to the present on wooden boards.

In the east window three glass paintings in the form of round disks with a diameter of 35 centimeters from the end of the 16th century are let in. The uppermost pane shows the crowned and nimbled head of an elderly man with a white beard and the inscription PAX VOBIS in a laurel wreath, possibly representing God the Father or a holy emperor. In the next panes, which come from Zurich, there are two full coats of arms: that of Hans Rieter (1522–1584) and underneath the coat of arms of his wife Katharina Gößwein. Their names and the year 1583 are written on the panes.

In the south window there is a medieval round disc with a diameter of 16 centimeters, which is made in grisaille technique and is dated to around 1500. It is said to come from Augsburg and shows the lamentation of Christ as a motif , but is also referred to as the burial of Christ : Christ sits on the floor in front of several mourners after he is deposed from the cross. A round disk of the same age with the motif of the crucifixion of Christ, which was still present in 1811, has been lost.

Crypt

The stone slab with bronze fittings in front of the main altar

Under the chancel is the crypt of the Rieter family, laid out by Hans Rieter around 1609 , which was probably built shortly after the renovation work began on the death of Maria von Imhoff, Hans Rieter's first wife, and provided with a barrel vault. A staircase leads to the crypt behind a door at the back of the main altar. The old access to the crypt is closed in the choir by a stone slab with bronze fittings (1609). The fittings consist of an inscription plaque in memory of Maria von Imhoff with an attached coat of arms, the sea ​​lions of the von Imhoff family , and four coats of arms: Above the inscription is the coat of arms of the Rieter on the left, next to it the fantasy coat of arms of the legendary Kalbenberger, below the text are the coats of arms of Rieter von Kornburg and von Bocksberg can be seen.

The deceased have naturally become mummies . In 1893 they were reburied from their crumbling wooden coffins into 13 glass coffins , a children's coffin and a stone sarcophagus. The crypt includes Hans Rieter, the builder of the crypt, Johann Albrecht Andreas Adam Rieter, with whom the Rieter patrician family died out, and his wife, who was the last family member to be buried here in 1782, and Anna Catharina von Lindenfels, who According to legend, he died dancing at a ball in Triesdorf and was therefore buried in a dance dress. Entering the crypt is no longer allowed from a conservation perspective, but also for reasons of piety.

Monument and nature protection

The building is registered under the monument number D-5-77-111-28 as a monument in the Bavarian monument list of the Bavarian State Office for Monument Preservation . The underground components of the church and its medieval predecessor are also designated as a ground monument with the number D-5-6831-0117. Since the church is classified by the monument office as a landscape-defining monument , its surroundings are part of the appearance of the building and may only be changed with the permission of the monument office. Since 2019 the church has been rated as a monument of national importance.

Numerous bats of the genera long-eared bats and mouse- eared bats nest under the church roof , which is why the church has been included in the conservation mapping with a bat population since the 1980s.

literature

  • Georg Dehio : Handbook of the German art monuments . Bavaria I: Franconia. The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia . 2nd revised and supplemented edition, Deutscher Kunstverlag, Munich / Berlin 1999, ISBN 3-422-03051-4 , pp. 501–502.
  • Karl Gröber, Felix Mader : District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , pp. 171-210.
  • Gotthard Kießling: Weissenburg-Gunzenhausen district (= Bavarian State Office for Monument Preservation [Hrsg.]: Monuments in Bavaria . Volume V.70 / 1 ). Karl M. Lipp Verlag, Munich 2000, ISBN 3-87490-581-0 .
  • Thomas Schauerte, Friedrich Zenner: Vita Mariae et Christi. The picture Bible in the Rieter church in Kalbensteinberg . Evangelical Luth. Parish office Kalbensteinberg 2014.
  • Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros (= Corpus Vitrearum Medii Aevi Germany . Volume X, 1). Deutscher Verlag für Kunstwissenschaft, Berlin 2002, ISBN 3-87157-201-2 , pp. 241-253.
  • Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014.
  • Viktor Michajlovič Sorokatyj: The Icon of St. Theodor Stratilates (16th century) in the Church of St. Maria and Christophorus in Kalbensteinberg (Middle Franconia) . From the Russ. trans. and introduced by Karl Christian Felmy (= Oikonomia 42). Erlangen 2005.
  • Werner Spoerl: The Rieterkirche at Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015.

Web links

Commons : Rieterkirche St. Marien und Christophorus  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b Werner Spoerl: The Rieterkirche at Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 14.
  2. ^ Leif Geiges and Adolf Lang: Altmühlfränkisches Mosaik . 1st edition. Freiburg im Breisgau 1982, p. 178.
  3. ^ Johann Schrenk, Karl Friedrich Zink: Houses of God. Church leader in the district of Weißenburg-Gunzenhausen. Treuchtlingen 2008, p. 112.
  4. ↑ a b c Absberg , Bavarian Monument List , Bavarian State Office for Monument Preservation, accessed on September 15, 2016 (PDF).
  5. ↑ a b Topographical Maps , Bavarian Surveying Office ( BayernAtlas ).
  6. ↑ Jakobusweg Nürnberg-Ulm-Konstanz , Evangelical Lutheran Church in Bavaria, accessed on September 15, 2016.
  7. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, pp. 12–16.
  8. ^ Siglinde Buchner: Kalbensteinberg: Insights into the local and church history up to 1613. In: Association for local history Gunzenhausen (ed.): Alt Gunzenhausen. Contributions to the history of the city and the surrounding area. Issue 72, 2017, pp. 8-10.
  9. ^ Siglinde Buchner: Kalbensteinberg: Insights into the local and church history up to 1613. In: Association for local history Gunzenhausen (ed.): Alt Gunzenhausen. Contributions to the history of the city and the surrounding area. Issue 72, 2017, pp. 20–22.
  10. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 4.
  11. ↑ a b c d e f Werner Spoerl: The Rieterkirche in Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 13.
  12. ↑ a b c d e f Georg Dehio: Handbook of the German Art Monuments. Bavaria I: Franconia. The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia . 2nd revised and supplemented edition, Deutscher Kunstverlag, Munich / Berlin 1999, ISBN 3-422-03051-4 , p. 501.
  13. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 8.
  14. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 11/12.
  15. ^ Siglinde Buchner: Kalbensteinberg: Insights into the local and church history up to 1613. In: Association for local history Gunzenhausen (ed.): Alt Gunzenhausen. Contributions to the history of the city and the surrounding area. Issue 72, 2017, p. 29.
  16. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 14.
  17. ^ Daniel Schönwald: The Rieter crypt in the Kalbensteinberg church. Construction, occupancy, special features. In: Association for local history Gunzenhausen (Hrsg.): Alt Gunzenhausen. Contributions to the history of the city and the surrounding area. Issue 73, 2018, pp. 128/129.
  18. ↑ a b A walk through the Rieterkirche. Parish association Kalbensteinberg / Fünfbronn, accessed on September 15, 2016 .
  19. ↑ a b c d e f g Thomas Müller: Church renovation 1609–1613 , available online, accessed on September 16, 2016.
  20. ↑ Werner Spoerl: The Rieterkirche to Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 8.
  21. ↑ Werner Spoerl: The Rieterkirche to Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 9.
  22. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Pfarramt Kalbensteinberg 2014, pp. 17-18.
  23. ↑ a b c Günter L. Niekel: Church history Kalbensteinberg 2014 . In: Altmühl-Bote . Published on October 9, 2014. Accessed online on September 15, 2016.
  24. ^ A b Thomas Müller: Rieterkirche in Kalbensteinberg is being renovated . In: Altmühl-Bote . Published April 3, 2018, accessed May 31, 2018.
  25. ↑ Thanks for preservation in stormy times. "Roof damage" of the Rieter church in Kalbensteinberg repaired well after renovation , Evangelisches Sonntagsblatt from Bavaria, accessed on January 30, 2020.
  26. ↑ St. Marien and Christophorus Kalbensteinberg. Church of the Month September 2018 , KiBa Foundation, accessed on April 22, 2019.
  27. ↑ Church of the Year 2019 , KiBa Foundation, accessed on May 6, 2019.
  28. ↑ Small churches, great music , in: Carpe Diem , accessed on September 15, 2016.
  29. ^ Joachim Zeune: Fortified churches and fortified churches . In: Historical Lexicon of Bavaria .
  30. ↑ a b c d e f Werner Spoerl: The Rieterkirche in Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 12.
  31. ↑ a b Werner Spoerl: The Rieterkirche at Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 16.
  32. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 174.
  33. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 175.
  34. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 173.
  35. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 178.
  36. ↑ Werner Spoerl: The Rieterkirche to Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 15.
  37. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 173.
  38. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 241.
  39. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 249.
  40. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 245.
  41. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, pp. 251/252.
  42. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 244.
  43. ↑ a b c d Werner Spoerl: The Rieterkirche at Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 19.
  44. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 178.
  45. ↑ Werner Spoerl: The Rieterkirche to Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 17/18.
  46. ↑ Bruno Langer: Evangelical painting epitaphs in Franconia. A contribution to the religious image in the Renaissance and Baroque periods. Nördlingen 2007, p. 314.
  47. ↑ Daniel Schönwald: The last of his name . In: kalber-online.de, accessed on October 8, 2016.
  48. ^ A b Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 17.
  49. ^ Daniel Schönwald: The Rieter crypt in the Kalbensteinberg church. Construction, occupancy, special features. In: Association for local history Gunzenhausen (Hrsg.): Alt Gunzenhausen. Contributions to the history of the city and the surrounding area. Issue 73, 2018, p. 130.
  50. ↑ a b c Werner Spoerl: The Rieterkirche at Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 25.
  51. ^ Georg Dehio: Handbook of German Art Monuments. Bavaria I: Franconia. The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia . 2nd revised and supplemented edition, Deutscher Kunstverlag, Munich / Berlin 1999, ISBN 3-422-03051-4 , p. 502.
  52. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 11.
  53. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 179.
  54. ↑ Helmut Schatz: Der Palmesel von Kalbensteinberg , Franken 2004, p. 147.
  55. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 5.
  56. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 178.
  57. ↑ a b c Werner Spoerl: The Rieterkirche at Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 22.
  58. ^ Benno Baumbauer, Dagmar Hirschfelder, Manuel Teget-Welz (eds.): Michael Wolgemut. More than Dürer's teacher. An exhibition by the museums of the city of Nuremberg December 20, 2019 to March 22, 2020. Schnell & Steiner, Regensburg 2019, ISBN 978-3-7954-3470-0 , pp. 246–248.
  59. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , pp. 198/199.
  60. ↑ Thomas Schauerte, Friedrich Zenner: Vita Mariae et Christi. The picture Bible in the Rieter church in Kalbensteinberg. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 4/5.
  61. ↑ Viktor Michajlovič Sorokatyj: The Icon of St. Theodor Stratilates (16th century) in the Church of St. Maria and Christophorus in Kalbensteinberg (Middle Franconia) . Erlangen 2005, p. 28.
  62. ↑ Helmut Lohse: The icon of St. Theodor Stratilat to Kalbensteinberg. A philological and historical investigation. Munich 1976, pp. 4-6.
  63. ↑ Gudrun Wirtz: Slavonisch-Russisches Heiligthum in the middle of Teutschland "- at the beginning of Russian icon research . In: Gottfried Kratz: Ost und West in Buch und Bibliothek, Frankfurt am Main 2015, pp. 201–226, here: p. 208.
  64. ↑ Gudrun Wirtz: Slavonic-Russian sanctuary in the middle of Teutschland "- Russian for the start icon Research . In: Gottfried Kratz: East and West in books and libraries, Frankfurt am Main 2015, pp 201-226, here: page 202.
  65. ↑ Gudrun Wirtz: Slavonisch-Russisches Heiligthum in the middle of Teutschland "- at the beginning of Russian icon research . In: Gottfried Kratz: Ost und West in Buch und Bibliothek, Frankfurt am Main 2015, pp. 201–226, here: p. 204.
  66. ↑ Viktor Michajlovič Sorokatyj: The Icon of St. Theodor Stratilates (16th century) in the Church of St. Maria and Christophorus in Kalbensteinberg (Middle Franconia) . Erlangen 2005, p. 4.
  67. ↑ Helmut Lohse: The icon of St. Theodor Stratilat to Kalbensteinberg. A philological and historical investigation. Munich 1976, pp. 64-88.
  68. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 188.
  69. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 188.
  70. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 13.
  71. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 179.
  72. ↑ Daniel Schönwald: "Completely unusable ..." On the new building of the Kalber organ in 1790 - a find in the Nuremberg City Archives. In: Community letter of Evangelical Churches Kalbensteinberg and Fünfbronn June - August 2017. Kalbensteinberg 2017, pp. 20-25, here: p. 20.
  73. ↑ Orgeldatabase: Kalbensteinberg, Germany (Bavaria) - Parish Church , accessed on June 1, 2018.
  74. ^ Michael Bernhard: New organs in Bavaria . In: Musik in Bayern 50. Munich 1995, pp. 105–114, here p. 107.
  75. ^ Daniel Schönwald: 550 years of laying the foundation stone. Establishment and consecration of the Kalbensteinberg Rieter Church and its prehistory. Evangelical Luth. Parish office Kalbensteinberg 2014, p. 11.
  76. ↑ Gottfried Putz: Kalbensteinberg and his church. Nuremberg 1914, p. 42.
  77. ↑ The Kalbensteinberg Bells (Part 1) , Parish Association Kalbensteinberg / Fünfbronn, accessed on September 16, 2016.
  78. ↑ a b The Kalbensteinberg Bells (Part 2) , Parish Association Kalbensteinberg / Fünfbronn, accessed on September 16, 2016.
  79. ^ Franz Dambeck (Ed.): German Bell Atlas. Third volume: Middle Franconia. Deutscher Kunstverlag, Munich a. a. 1973, p. 241.
  80. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 241.
  81. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 253.
  82. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 197.
  83. ↑ Hartmut Scholz: The medieval glass paintings in Middle Franconia and Nuremberg extra muros . Berlin 2002, p. 241.
  84. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , pp. 208/209.
  85. ^ Karl Gröber, Felix Mader: District Office Gunzenhausen . In: The art monuments of Bavaria . Middle Franconia VI. R. Oldenbourg Verlag, Munich 1937, ISBN 3-486-50509-2 , p. 208.
  86. ↑ The last of his name The burial of Johann Albrecht Andreas Adam Rieter (1677–1753) in the Kalbensteinberg crypt . In: Congregational Letter. Evangelical parishes Kalbensteinberg / Fünfbronn . December 2014, p. 12.
  87. ↑ Werner Spoerl: The Rieterkirche to Kalbensteinberg St. Marien and Christophorus . Revised by Daniel Schönwald and Thomas Müller, Evang.-Luth. Parish office Kalbensteinberg 2015, p. 28.
  88. ^ Daniel Schönwald: The Rieter crypt in the Kalbensteinberg church. Construction, occupancy, special features. In: Association for local history Gunzenhausen (Hrsg.): Alt Gunzenhausen. Contributions to the history of the city and the surrounding area. Issue 73, 2018, p. 127.
  89. ↑ Werner Falk: Rieter Church: National significance. Classification as cultural heritage . In: Falk -Report.de., Accessed on May 1, 2019.
  90. ^ Bats under the church roof , parish association Kalbensteinberg / Fünfbronn, accessed on September 15, 2016.

Coordinates: 49 ° 10 ′ 36.7 "  N , 10 ° 50 ′ 51.2"  E