St. Anne's Church (Annaberg-Buchholz)
The St. Anne's Church in Annaberg-Buchholz is a hall church on the threshold between the late Gothic and the Renaissance and with a length of 65 meters and a width of 40 meters it is the largest pure hall church of the late Gothic in Saxony . The tower is 78 meters high, the interior of the church is 28 meters high. It is the symbol of the city and can be seen from afar. The St. Anne's Church was originally built from 1499 as a Catholic church. In 1539 she became Evangelical Lutheran .
Art historical significance
The St. Anne's Church is considered to be one of the most important examples of the late Gothic. Its sculptural equipment shows not only late Gothic art but also very early forms of the Renaissance in Central Europe. The formal language typical of the older Gothic , which mostly strives upwards, is dissolved here in imaginative, intricate designs and vault variants . The formal language of the Italian Renaissance, which goes back to antiquity, is shown partly in the architectural sculptures and in the altarpieces.
As a hall church, St. Anne's Church is also considered to be the most mature representative of a number of sacred buildings that were built at the end of the 15th and beginning of the 16th century, especially in the Upper Saxon region . Economic prosperity - promoted by rich silver yield - drove strong construction activity in the Ore Mountains at that time. The designs of St. Anne's Church are reflected in the Freiberg Cathedral , St. Mary's Church in Marienberg and St. Wolfgang 's Church in Schneeberg . The Barbara Church in the Bohemian Kuttenberg ( Kutna Hora ) shows a clear similarity in the interior design .
In a renovation that lasted more than 20 years, numerous later modifications and changes were removed, so that the interior of St. Anne's Church is now almost in its original state of the 16th century.
Naming
As the patron saint of the miners, Saint Anne played an important role in the area characterized by silver mining. After the church was first consecrated to her, she also gave the new city its name. The person of Duke George the Bearded is of great importance for the naming . As a Catholic-minded city founder and builder of the church, he was very interested in creating a cult of St. Anne. Anna was his favorite saint and her patron saint, January 26th, had been a feast day in Wettin countries since 1495. For the cult he had relics of the saints that are now lost and financed half of the main altar dedicated to the patron saint. In this way the church became a religious center in Albertine Saxony in the early 16th century. The symbolic meaning of Saint Anne can be seen in the birth of Mary , who in turn gave birth to Jesus Christ . According to medieval ideas, Christ is gold and the sun, his mother Mary the silver. Anna produced Maria, in the sense of the miners she produced the silver ore. With her patronage, a rich income seemed certain, since she was seen as a helper in need of money.
Building history
Construction concept
In 1497, after rich silver finds, the Neustadt am Schreckenberg ("St. Annaberg" since 1501) was founded by Duke Georg von Sachsen (the city was laid out in 1496, the city was founded in 1497). In the development plan designed by the humanist and mathematician Ulrich Rülein von Calw , the area around 100 meters above the market was intended for the construction of a large church from the start. Presumably the building site was deliberately chosen so that the church would dominate the city when it was completed - seen from all directions. The location of the massive tower is probably also due to urban planning reasons. It optically closes off the Große Kirchgasse leading uphill from the market. With the consistent use of local gneiss , the church adapts to the rough landscape of the Ore Mountains. The massive, somewhat repellent impression that the building conveys from the outside is also supported by the fact that the buttresses on the outer walls - typical of late Gothic buildings - were almost completely dispensed with.
Church building
In 1499 the foundation stone for the church was laid. The construction was financed by the Saxon royal court with indulgences , donations and mining. The initiative to build a church of this size came from the then sovereign, George the Bearded. How much the building was important to him is also shown by the size of the reliquary collection that he had collected for St. Anne's Church and that made St. Annaberg a destination for pilgrims. During the construction work, a wooden church in the middle of the construction site served as a home for the rapidly growing community. Konrad Schwab (or Konrad Pflüger) and Peter Ulrich ( Peter von Pirna ), who previously worked on the Marienkirche in Pirna, south of Dresden, are named as early builders of the church . In 1512 the temporary wooden church was demolished and work on the roof structure and vaults began.
After the death of Peter Ulrich, Jacob Haylmann from Schweinfurt , a student of the Prague builder Benedikt Ried , took over the construction work in 1515. The conception of the interior with the distinctive loop rib vaults and the galleries on three sides bear his signature. Under his direction, the roof construction, which is self-supporting on the pillars and outer walls, was completed and thus represented a remarkable technical innovation. The vaults were installed later. They have no static, but only spatial design significance. A little later the roof was covered with copper. The work of the sculptor Franz Maidburg (also Franz Magdeburg) shaped the design of the church interior . The late Gothic pulpit and the gallery reliefs, which were already influenced by early Renaissance elements, can be traced back to the work of his workshop. The portal of the so-called Old Sacristy , which was made in 1518 and was a more recent addition to the reliquary collection, was also made by Franz Maidburg. This is an early Renaissance sculpture in Upper Saxony. The altars were also completed in the early 20s of the 16th century. The church was completed in 1525.
Structural changes
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The roof of the church was damaged in the devastating city fire in 1604. Otherwise the building was largely spared from destruction. From 1688 to 1692 the church was completely restored. The church was damaged by lightning strikes in 1731 and 1813. The tower was then given the hood in its current form.
From 1875 to 1884, a neo-Gothic redesign of the interior took place under the impression of a general historical perspective in architecture . The old slug panes were replaced by colored windows. During this time the large new organ from the Walcker company was installed. In the 1920s, the interior was painted over again. Above all, numerous neo-Gothic style elements were erased and an overall simpler spatial impression was achieved. At the same time, the church was given its current appearance by removing the external plaster and creating the large entrance portal with a flight of stairs on the west side.
Restoration in the 20th century
Since the beginning of the 1970s, St. Anne's Church has undergone extensive restoration. In the interior of the church, the main priority was to restore the original, late-Gothic spatial impression. For this purpose, five different layers of overpainting from the years 1688–1691, 1731, 1830, 1881–1884 and 1927 had to be removed. Some of the original painting from 1520 was still very well preserved. This made it possible to restore the color scheme inside as it had existed in 1525. In some places, the condition was retained. The restoration of the interior took place mainly between 1975 and 1979. The altars and the Walcker organ were also extensively restored. In 1996 the work inside the church was completed. Restoration work was also necessary on the structure itself. The outer walls, roof and roof structure were extensively renovated between 1973 and 1976.
Interior and equipment
Vault
The St. Anne's Church is a three-aisled hall church. The vault created by Jacob Haylmann spans the entire interior. For Martin Warnke , author of the second volume of the history of German art , this vault is the "hero of the interior" of St. Anne's Church. “The arching,” writes Warnke, “detaches itself from its support and offers its own showroom. The ribs in the side aisles form much more vivid figurations. The six-part loop or ribbon blossoms in the yoke fields of the central nave are not immediately recognizable because the ribs all have the same cross-section. The eye has to isolate the figures in each yoke and work them out again and again. It can be assigned to the keystones with large, pewter-cut foliage rosettes, which were originally emphasized by wooden reliefs. The scabbard belts of the yokes lead the lurching flow of the loop ribs in the longitudinal direction, while discreet Gurtgrate him rhythm in the transverse direction. The stars set point against point and unite in the nave to form a chain of flowers that strive towards the flat main apse, into which abundant light flows from deeply lowered windows. "
Gallery reliefs
The interior is enclosed by galleries on three sides . A total of 100 relief panels are attached to the parapets, most of which go back to Franz Maidburg. The beginning of the reliefs is marked on the south and north side by the ten female and ten male age representations. Every age is assigned a relief at intervals of 10 years, showing women and men dressed in contemporary clothing of the respective age. They have coats of arms on which animals (for example lion, peacock, bat) are depicted, which are supposed to embody typical characters. The grim reaper is assigned to the hundredth year .
The other reliefs form a picture Bible, beginning with the creation of the world through the Fall, the birth and life of Jesus, the martyrdoms of the apostles to the Last Judgment. The climax and center of the cycle is the crucifixion of Jesus in the middle of the west gallery.
pulpit
For acoustic reasons, the pulpit is located on a pillar in the middle of the main nave. It is also a work by Franz Maidburg. Noteworthy are the reliefs on the parapets, which have an extremely realistic design language and can therefore be clearly assigned to the early Renaissance. The depiction of Saint Anne with Mary and the baby Jesus striving for the mother, church dignitaries absorbed in their reading or the figure of a miner working on the pulpit show very real features and an everyday human body language.
Mountain altar
Of the various altars in St. Anne's Church, the mountain altar, consecrated in 1521, is the most remarkable. In many ways he combines Gothic forms with Renaissance influences. It gains its high art historical importance and national fame from the four panels on the back. The works attributed to the painter Hans Hesse impressively show an Ore Mountains mining landscape and mining life 500 years ago. The altar was commissioned by the miners.
composition
The essential aspects of silver mining are presented in a very realistic way, from the development of a new mine, mining facilities and miners entering the mountain to silver washers and smelters to minting coins . The large middle panel is dedicated to the mining of silver ore, while the three smaller side panels report on its further processing.
The process of ore extraction and processing is multi-faceted and presented with great attention to detail. In this respect, the altar gains not only great art-historical, but also economic-historical value. The painter works in a sophisticated way with the means of perspective - gradation of size and color differentiation from brown to blue to the background.
The depiction of the miner or the everyday work of the miner testifies to a spiritual exaggeration of the working world. This already points strongly to the Reformation renaissance, although the Reformation did not find its way into Annaberg until a good 20 years later. The figures of the mining world of work are almost without exception kept in earth tones and in places appear to have merged with the mountain. Right in the center of the four panels is the figure of a house , which is particularly emphasized by his clothes , which are kept in stronger red. It is also the only figure who looks directly at the viewer and thus functions as a central access point to the imagery of the mountain altar.
Silver mining (middle panel)
The central panel shows a diverse mining landscape full of heaps , shafts , tunnels , göpels and hut houses . Miners are shown driving into the mines, others dump debris. In the foreground, next to the tusker, two coiler servants can be seen, who are carrying the ore up from a shaft in a bucket. The representation of the silver mining continues in the two side panels in the background, for example in the figure of a gangway house (right panel in the background), who is just beginning to build a new tunnel. At the same place mining ventilation systems and two mountain carpenters are shown.
Processing of the silver (side panels)
The predella shows the next step in ore processing, silver washing , an activity that was often carried out by women. A smelter dominates the left side panel. Smelters alternately tip charcoal and ore into the furnace , while liquid silver ore runs out below. The coins are shown on the right side panel. The mint is depicted as a stately building, the minters themselves dressed more nobly.
Spiritual references
Only two elements of the paintings go beyond the concrete working world of the miners and explicitly have a spiritual, metaphysical reference. The legend of Annaberg's founding is shown in the upper left quarter of the middle panel: In a dream, an angel appears to Daniel Knappe who tells him about a large tree on the Schreckenberg , in whose branches a treasure can be found. Knappe discovers the tree and climbs up. Vain. The angel reappears and says "Search at the roots". Knappe digs and comes across a rich silver vein. He rammed his ax into the trunk. In the early days of the Annaberg mining industry, mining rights were granted with an ax thrown - this aspect is also shown by a group of figures on the left panel in the background. The only saint represented on the picture panels is St. Wolfgang , who is venerated as a mining patron . The figure is directly integrated into the mining world of work and part of it. Only through the bright green coat does the saint stand out from the group of miners.
front
The front of the mountain altar has typically Gothic shapes with its high crack and is one of the few preserved altars in Saxony in this form . In ornamentation and figures, however, clear features of the Renaissance are already opening up. When open, the altar shows carved scenes from the Passion story - in the central shrine there is a figurative representation of the Holy Night. When closed, four painted panels show scenes from the life of Mary. On the front, miners' figures, which are attached to biblical representations, make the reference to the altar's client.
Main altar
The main altar was made from different types of marble until 1522 and represents the so-called " Root Jesse ", the family tree of Jesus. It clearly shows the formal language of the early Renaissance and was created by the sculptor Adolf Dauher with his son Hans Daucher .
Coin altar and baker's altar
In the southern choir is the Coin Altar, also consecrated in 1522, donated by the minters and smelters, who were influential at the height of mining . The bakers' guild also donated their own altar. In addition to the coin makers, the bakers were among the most important and first organized guilds. Both altars are works by Christoph Walther (1475–1546). The baker's altar shows a "Lamentation of Christ" in the middle shrine, the side wings depict Jesus' childhood and passion story and the predella depicts the entombment of Christ. The exterior is decorated with paintings of the Annunciation. After severe damage over time, the altar underwent extensive restoration in the 1990s.
Pflockscher Altar
In the chapel of the Pflock family - influential owners of mines in the 16th century - there is another altar of art-historical interest by the master of the Pflockschen altar .
"Nice door"
The Schöne Tür , created in 1512 by the master H. W. (often not fully identified as Hans Witten ) was originally located at the Annaberg Franciscan monastery and was moved to St. Anne's Church after its dissolution in 1577. The portal impresses with its rich figural decoration, in the center of which is a crucifixion scene.
Baptismal font
The font is also a work by Hans Witten and dates from the 1520s. In 1556 he was transferred to St. Anne's Church. The baptismal font has the shape of a chalice and is placed in the main nave in front of the main altar.
Organs
The large organ of St. Anne's Church was built in 1883/1884 by Eberhard Friedrich Walcker from Ludwigsburg with originally 56 registers (cone chests) on three manuals and a pedal . The instrument had mechanical action and a barker machine in the main work . At the end of the 19th century, the Jehmlich brothers (Dresden) equipped the instrument with pneumatic action and added 11 stops. In the 1990s, the organ was completely renovated by the Eule company (Bautzen) and largely restored to its original condition. This restoration project was completed in October 1995 with the rededication of the Walcker organ. Today, all the manual divisions and which are Registertrakturen equipped with Barker lever. The instrument has 65 registers. The church also has an Eule choir organ (II / P / 12).
Main organ
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- Coupling : II / I, III / I, III / II, I / P, II / P, III / P
- Playing aids : Fixed combinations (pp, p, mf, ff, tutti), forte pedal, piano pedal, swell kick for No. 38, register cuff
Choir organ
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- Coupling : II / I, I / P, II / P
Steeple
The church tower with its walls several meters thick is located on the south side. It is 78 meters high in total. At about 32 meters - about the same height as the roof of the nave - there is a tour from which you not only have a view of Annaberg-Buchholz and its districts, but also the Ore Mountains when the weather is nice. On the eve of a church festival, the traditional manual bells can be watched by rope while the tower is open. The tower is open to visitors from May to October. A special feature of the tower is that it - as the only church tower in Germany - is still inhabited by a family of towers above the bell chamber.
Bells
St. Annen has five church bells . Several chimes have existed over the centuries. The information on this in the available sources does not allow a description of how it is possible for today's bell. Most only mass information and inscriptions were recorded, percussion sounds ever. At most, the intervals between the striking notes allow conclusions to be drawn about the striking notes.
First bell (1511–1604)
The first ring consisted of five bells, cast by Oswald and Martin Hilliger zu Freiberg. The casts did not take place in one go, however, but were spread over four years. The bells fell completely victim to the city fire in 1604.
| No. |
Surname |
Casting year |
Weight (kg) |
Nominal |
|---|---|---|---|---|
| 1 | Anna | 1511 | ≈4,500 | a 0 |
| 2 | Margarete | 1515 | ≈2,600 | c 1 |
| 3 | Peter and Paul | 1515 | ≈1,500 | d 1 |
| 4th | (unknown) | 1516 | (unknown) | a 1 |
| 5 | Chimney bell | 1501 | (unknown) | (unknown) |
Second chime (1604–1813)
The second ring seems to have been lighter and smaller than the previous one, according to the only mass specification - that of bell 1 around 2,400 kg. In 1604, bells 2, 3 and 4 were cast by Johann Hilliger zu Freiberg. Bell 4 was re-cast after a crack in 1610. Bell 1 was not built until 1613 and first rung in 1614.
In 1607 the church bought a fifth bell, cast in the strike tone 3 by Lorenz Hentel zu Zwickau. Their function was to give the tower keeper a sign to ring the liturgical bells - so their name signing bells . It was rung in the roof turret of the nave and has existed to this day. On March 7, 1813, the tower burned down due to a lightning strike. The fire destroyed all four bells in the church tower. The signature bell was retained.
Third bell (from 1814)
After the four-part bell from 1604 had been destroyed due to the fire, Friedrich August Otto zu Dresden cast four new bells in the same disposition in 1814, but one whole tone higher than the first historical bell from 1511. Sound analyzes show that the bells in Mollterz sub-text Rib (short: sex rib) were poured. The names of the previous bells were taken orally.
| No. |
Surname |
Diameter (mm) |
Nominal |
|---|---|---|---|
| 1 | Anna | 1728 | h 0 |
| 2 | Margarete | 1410 | d 1 |
| 3 | Peter and Paul | 1140 | e 1 |
| 4th | Maria / Häuerglocke | 850 | h 1 |
Until 1890, the three large bells rang in a wooden bell chair, their crowns attached to straight wooden yokes, by stepping on footboards mounted on the yokes. Since the handrail of a bell broke while the bell was ringing and it fell fatally on the swinging bell, it was believed that the bells should be hung: the wooden bell cage was removed and replaced by a steel chair. According to the Bierling-Köppke system, the bell crowns were sawn off and the bells hung in stilted (cranked) cast iron yokes. The flying clapper was replaced by counterweight clapper. In addition, when hanging the bells 1 and 2, they turned 90 degrees to their previous ringing direction. Since then, the bells have been ringing stilted instead of swinging freely. The gear rim roller bearings are a specialty. Bell 4 remained hanging in the lantern on its original wooden yoke. The signing bell is placed in the bell chamber.
In 1917 and 1942 (second casting in 1922 by Christian Albert Bierling , 400 kg, 880 mm Ø), the chimney bell had to be delivered for war purposes. Since the confiscation of the Bierling bell in 1942, only the straight wooden yoke remained hanging in the bell cage of the lantern. Since the clock was no longer striking, the mechanism was apparently no longer functional due to lack of interest and uselessness in the movement. The currently responsible tower keeper took care of the clockwork and made it work again. This fact brought an essential argument for adding the missing h 1 bell in the lantern. In 2001, the Rudolf Perner bell foundry in Passau produced a replacement for the Häuerglocke delivered in 1942 . The bell rings on the remaining original wooden yoke from 1814.
External design of the bells
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- Bell 1
- Shoulder: between two round bars, a naturalistic frieze made of stylized grapes and carob pods, underneath garlands of ruffled cloths
- Flank: Inscription in a modified, artistic script: My tone calls you to the service of the Lord / And strikes the hours of your life / O! follow that call gladly / so you do not live this in vain. , opposite: The fire of lightning destroyed me / March 7th 1813. / I was restored / July 9th 1814. / by / Friedrich August Otto / in Dresden.
- Wolm: Bulge between two fluted ridges
- under the wolm: palmette frieze standing on one edge
- Bell 2
- Shoulder: between two round bars, a naturalistic frieze made of stylized grapes and carob pods, underneath garlands of ruffled cloths
- Flank: Inscription in modified, artistic cursive : Cast in destructive time, I / St. Annens happy grandchildren proclaim my tone / peace and lasting / salvation. / Glory to God alone. , opposite: I was restored / July 9, 1814 / by / Friedrich August Otto / in Dresden.
- Wolm: Bulge between two fluted ridges
- under the wolm: palmette frieze standing on one edge
- Bell 3
- Shoulder: between two round bars, a naturalistic frieze made of stylized dandelions, underneath garlands made of gathered cloth
- Flank: Inscription in modified, artistic script : Fire first destroyed me, / and fire rejuvenated me again. / So you rejuvenate, O man, / death destroys you. , opposite: I was restored / July 9, 1814 / by / Friedrich August Otto / in Dresden.
- Wolm: Bulge between two fluted ridges
- under the wolm: palmette frieze standing on one edge
- Bell 4
- Shoulder: arched frieze of finial flowers hanging under the round bar
- Flank: double relief cross, opposite inscription in modern capitalis: ANNABERG - BUCHHOLZ , below it foundry mark
- Wolm: Inscription in modern capitalis between two round bars: BE MERRY IN HOPE, BE PATIENT IN TRIBULATION, KEEP ON PRAYER. ROME 12.12.
Bell 1
Bell 1: inscription on the front of the flank
Bell 2
Bell 3
Bell 4
Data overview and ringing order
|
No. |
Surname |
Liturgical Office |
Casting year |
Foundry, casting location |
Diameter (mm) |
Mass (kg) |
Percussive ( HT - 1 / 16 ) |
rib |
| 1 | Anna | Death bell | 1814 | Friedrich August Otto, Dresden | 1,728 | 2,963 | h 0 −11 | Sextrippe, moderate |
| 2 | Margarete | - | 1,410 | 1,520 | d 1 −5 | Sextrippe, moderate | ||
| 3 | Peter and Paul | Baptismal bell | 1,140 | 680 | e 1 −7 | Sex trim, very easy | ||
| 4th | House bell (Maria) | Prayer bell | 2001 | Rudolf Perner, Passau | 860 | 386 | h 1 −5 | Molloktavrippe, moderately difficult |
| - | Signing bell | (switched off) | 1607 | Lorenz Hentel, Zwickau | 330 | 18th | at dis 3 | moderate |
The chapel bell rings as a prayer bell at 7 a.m., 12 p.m. and 6 p.m. It also sounds for the Lord's Prayer in the service and acts as a clock- chime bell . The house bell is excluded from the plenary; she takes on solo functions.
The ringing order states that Sunday will be rung in on Saturday at 6 p.m. This is done with bells 3, 2 and 1 ( called plenum ) instead of the chimney bell . One hour before the main service, bell 3 gives the first sign, and after half an hour bells 3 and 2 give the second sign. Ten minutes before the start of the service, the ringing with the plenary takes place. Bell 3 rings for the act of baptism, bell 1 for death.
restoration
Since 2012, the bells have been hanging on wooden yokes in a wooden bell chair made purely like a carpenter. Peter Glasbrenner from Tüngental made new crowns for the original suspension based on historical templates, and the Lachenmeyer bell welding plant in Nördlingen welded these into the bells.
literature
- Hans Burckhardt: Crucifixes and crucifixion groups in St. Anne's Church in Annaberg. In: Sächsische Heimatblätter , Heft 6/1981, pp. 275–283.
- Heinrich Magirius : The St. Anne's Church in Annaberg. Berlin, 1985. ( The Christian Monument series ).
- Heinrich Magirius: St. Anne to Annaberg. Schnell & Steiner, Munich / Zurich, 1991. (Series: Large Art Guide ).
- Hans Burckhardt: My tone calls you to the service of the Lord ... Destiny of Annaberg church bells. Annaberg-Buchholz, 1998.
- Barbara Bechter: Ev. City church St. Annen , in: Georg Dehio : Handbook of the German art monuments Saxony : II. Administrative districts Leipzig and Chemnitz. Deutscher Kunstverlag, Munich 1998, pp. 6 to 14
- Horst Richter: Restoration of St. Anne's Church, Annaberg-Buchholz. Annaberg-Buchholz: Church Council St. Annen, 1999.
- Rolf Kunze: 500 years Annaberg - St. Anne's Church, testimony to the heyday of mining culture. In: Erzgebirgische Heimatblätter 6/1995, pp. 2–7, ISSN 0232-6078 .
- Wolfgang Buschmann: The Annaberger Bergaltar - From the miners and their painter Hans Hesse , Der Kinderbuchverlag Berlin, 1982
- Ariane Grund / Rainer Dohle: Sankt Annen - The miner's cathedral in Annaberg-Buchholz. Chemnitz: Chemnitzer Verlag, 2011. ISBN 978-3-937025-61-2
- Stefan Bürger: The Annaberg St. Anne's Church. The peculiarities of their architecture as a sign of cultural change . In: The Ore Mountains in the 16th century. Shape change of a cultural landscape in the Reformation age, ed. by Martina Schattkowsky. Leipzig 2013, pp. 353–377, ISBN 978-3-86583-737-0 .
Web links
- Internet presence of the Evangelical Lutheran parish Annaberg-Buchholz and the St. Anne's Church
- St. Anne's Church as a 3D model in SketchUp's 3D warehouse
- Main bell of St. Anne's Church, recorded in the bell room on YouTube .
- Audio sample: Live recording of the Walcker organ: Robert Smith plays "Christe, redemptor omnium" by Hubert Parry on YouTube .
References and comments
- ↑ a b i point missing.
- ↑ happy
- ↑ Inscription from 1814: Gluik open, drive into the dark shaft, / God gives you good skill. / So go confidently into the night of the grave, / You wait for Gluik in heaven. , opposite: I was restored / July 9, 1814 / by Friedrich August Otto / in Dresden .
- ↑ Inscription from 1922: Victim of the world war, born again from sacrifices of love, / I admonish in a daily call to sacrifice to God sloppy thanks night .
- ↑ Parallel to the ringing of prayer at 7 a.m., 12 p.m. and 6 p.m., the bell (strike note as 1 ) of the neighboring Catholic Holy Cross Church rings for the Angelus .
- ^ Martin Warnke: History of German art. Vol. 2 Late Middle Ages and Early Modern Times. Munich 1999, p. 27.
- ↑ Burkhard Kunkel: Middle things as semiophora? Lutheran-intentioned transformations and the “Schöne Tür” of St. Anne's Church in Annaberg . In: Krista Kodres (Ed.): Indifferent Things? Material and ceremonial Church Practices in the 16th and 17th Centuries in the Baltic Sea Region . Petersberg 2020, p. 12-21 .
- ↑ More information on the Walcker organ .
- ^ Die Auslese , Issue 2/2012, Cologne, pp. 16-18.
Coordinates: 50 ° 34 ′ 43 ″ N , 13 ° 0 ′ 19 ″ E