St. Mauritz Church (Münster)
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The Catholic collegiate and parish church of St. Mauritz is the oldest sacred building in Münster that has been preserved in its original form . It is located in the west of the Mauritzviertel , just outside the inner city ring, on Sankt-Mauritz-Freiheit.
Patronage
The church is under the patronage of St. Mauritius . He was the legend, leader of the Theban Legion and suffered by 290 in Agaunum in Valais the martyrdom . His veneration has been attested since the 4th century. He was one of the main patrons of the Holy Roman Empire . His feast day is September 22nd.
historical development
St. Mauritz was the collegiate church of the collegiate monastery of St. Mauritz, which was considered the most important monastery in the diocese of Münster after the cathedral chapter of St. Paulus Cathedral .
pen
The exact founding date of the monastery is unknown, as the document is no longer available. But there are several indications that Bishop Friedrich I († 1084) was the founder.
The close connections between Frederick and St. Mauritius Cathedral in Magdeburg are revealing . He was initially a canon there, then rose to the position of provost, but failed in his pursuit of the office of archbishop and then came to Munster. Since Magdeburg was a center of Mauritius worship, the Mauritius patronage saith the Collegiate Church of the influence of Frederick I. In addition, require studies of the Romanesque east towers during excavations in 1970 suggest that the Collegiate Church around the year 1064 or shortly thereafter, d. H. was established during the term of office of Frederick I. It is possible that the plans for the building came from his predecessor Rudbert .
The completion of the construction work - including the erection of the nave - and the consecration of the collegiate church probably fell during the term of office of Friedrich's successor, Bishop Erpho . Both bishops were buried in the collegiate church, the grave of Erphos became a place of worship.
The monastery was evidently expanded by Bishop Burchard, who was in office from 1098 to 1118 . He had a monastery building built and a cloister that connected to the south side of the collegiate church. Small chapels were added to the cloister. a. the Blasius Chapel, in which Bishop Burchard was buried. The Münster bishop Hermann II founded the dean and commissioned the expansion of the chapter in 1177. The west tower and the Erpho Chapel were also built during his tenure. Outside the actual monastery district, which at that time was still at the gates of Münster, mainly craftsmen settled, so that a "suburbium" developed.
Up until the 14th century, the bishop of Münster determined the provosts of St. Mauritz. This changed due to an administrative reform in the diocese towards the end of the 14th century, in the course of which the rights of the monastery were restricted. To compensate, the St. Mauritz monastery was given the right to freely elect the provost . One of the deans in 1352 was Wessel vondeckebrock, son of the mayor of Münster Johann III. vondeckebrock and the Adelheid von Langen (Westphalian noble families) . He became an episcopal official in 1376 at the latest .
In 1529 Bernhard Rothmann , chaplain at St. Mauritz, began to preach in the Reformation . This made the monastery the starting point for the development towards the Anabaptist Empire of Münster . After the Anabaptists gained control of the city in 1534, the St. Mauritz Abbey also fell victim to the devastation of the Anabaptists. After the suppression of the Anabaptist Empire, the collegiate church and buildings were restored.
Gottfried von Raesfeld , an important person of the Counter Reformation in the Münsterland, became a canon in St. Mauritz in 1541. In 1552 he ceded the position to his brother Bitter von Raesfeld and then followed his brother Bernhard von Raesfeld in 1557 in the office of provost of St. Mauritz.
The cloister of the collegiate church with its chapels was demolished in 1832. Of the abbey-owned residential buildings, only the (former) abbey curia and (in parts) the building of the old deanery are preserved today. The collegiate curia, which is used today as the rectory of St. Mauritz , is located directly opposite St. Mauritz. The building was probably built in 1758 according to plans by Johann Conrad Schlaun and is now used as a rectory. The old deanery (abbey dean's apartment) is some distance northeast of the church. In addition, there are remains of the enclosure of IMMUNITAS SANCTI MAURITII , namely the gate pillars of the eastern entrance to the monastery district, which were built in 1754. In their cornice is the above. carved in Latin reference to the abbey district.
Parish church
In 1811 the monastery was abolished in the course of secularization. Since then the church has been the parish church of the independent parish of St. Mauritz, to which u. a. the Catholic Mauritz primary school, a kindergarten, the St. Mauritz children's home and the Mauritz cemetery belonged. Today the old Mauritz cemetery and the new Mauritz cemetery exist . After the extensive destruction of St. Paulus Cathedral in 1945, St. Mauritz was temporarily the only old church in Münster that could be used.
Since May 30, 2013 the St. Mauritz Church has been the parish church of the new / old parish of Sankt Mauritz, which has been incorporated into the parish of St.Mauritz by integrating the parishes Herz Jesu and St. Elisabeth , St. Edith Stein and St. Benedikt Mauritz was created.
building
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The church has a three-aisled neo - Romanesque nave with a basilica cross-section. The Gothic choir adjoins the nave to the east and is flanked by two Romanesque towers (east towers). The mighty bell tower (west tower) rises in front of the nave. To the side of this, on the western front of the aisles, there are entrances to the church. Below the tower, a passage leads from the nave to the Erpho Chapel, which is in front of the west tower.
Romanesque west tower
The west tower dates from the 12th century. It consists of several superimposed (vaulted) rooms or levels. The lowest room forms the passage from the nave to the Erpho Chapel. A staircase leads from the anteroom of the southern side entrance to the levels above. The level above the passage between the church and the Erpho Chapel is divided into two parts: to the east there is a chamber open to the church with a barrel vault in which the organ is housed. To the west of this (organ) chamber is a tower room, in the south and north walls of which there is a Romanesque window. The bells used to be rung from this room. The clay remains of the openings / guides for the bell ropes are still there. Above there are three further levels, the top two of which are each equipped with sound hatches. The bell house is located on the top level, directly under the dome of the tower. The level below is continuously connected to the lowest level. The sound hatches are smaller (two arcades) than those of the bell level (three arcades). The tower clock mechanism is located on the lowest of the three levels.
In terms of its external appearance, the upper half of the tower is designed similar to the east towers, with each side of the tower appearing as a "double" version of the east towers: In the middle tower height there are initially simple, slot-like window openings, above each two adjacent double arcade windows, above each two triple arcade windows lying next to each other.
A mighty, Baroque curved tower dome , which was put on in 1709, rises above the stone tower walls . The hood ends in a slim tower lantern in the form of an octagonal, pavilion-like room, open on all sides. Above that there is an elongated tower hood, which is clearly reminiscent of the shape of an onion dome .
Romanesque east towers
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From the founding building of the collegiate church, only the two Romanesque east towers and the adjacent parts of the masonry of the choir room are preserved today. This was found during excavation work in 1970.
The more or less identical east towers are slim. At about halfway up, the tower begins to be broken down into storeys, with windows embedded in the walls on all sides. There are simple arched windows on the bottom floor, double arcade windows on the middle floor , triple arcade windows on the upper floor, and above each a small round window, which is flanked by relief figures. The spiers are each designed as a simple spiers which are slated and their height about twice results in the respective side surface width. The north east tower contains a passage from the outside to the choir of the church on the ground floor. The south east tower is integrated into the building ensemble of adjoining sacristy and a building block. Access to the individual floors is only possible via the vaults of the nave.
The niche reliefs of the east towers of St. Mauritz, which are attached directly below the spiers, flanking the round windows, are significant in terms of art history. They are among the very few surviving reliefs on the exterior of a church in the 11th century. Presumably they were made around 1090. For example, five male, warlike figures and a female saint are shown. The niche reliefs on the west facade of St. Pantaleon in Cologne, also created in the 11th century, are to be mentioned as comparative works . Three of these 10 niche reliefs are now in the State Museum in Münster.
Gothic choir
The choir was originally Romanesque . It was replaced by a Gothic choir in 1476 .
While the original Romanesque choir had a square base with a semicircular apse, the new building is rectangular and has two bays. The subsequent choir closure is five-sided. Two of these areas (with windows) form an extension of the choir. Black and white marble tiles are laid throughout the choir.
On the north side of the choir - outside the church - there is a monumental depiction of the crucifixion made of sandstone, which originally stood in the cloister. The crucifixion group was created around 1630 by Gerhard Gröninger from Münster. To the left of it is a late Gothic niche with the Mother of God. There is a copy in the niche today. The original from around 1500 is kept in the rectory.
Gothic sacristy
The sacristy is located on the south side of the choir . This extension partly still consists of remains of the old (Romanesque) masonry. The southern east tower goes into the extension. The room was originally a chapel room.
Neo-Romanesque nave
The original Romanesque nave was single-nave . It had to be demolished in 1857 because of the risk of collapse and was replaced by a three-aisled neo - Romanesque nave with a basilica cross-section, which was built in the years 1859–1861 according to plans by the Münster diocesan master builder Emil von Manger .
The new nave was richly painted. The murals on the areas above the arcade arches in the central nave with scenic representations of the eight bliss are still preserved today . They are hidden under a protective wall, which, like all the wall surfaces of the church, was simply painted white. Some exposed windows in the plaster of the Erpho Chapel give an impression of the original painting.
Neo-Romanesque aisles
The two side aisles are each equipped with Romanesque windows and open to the church through four round arches. The numerous side altars that originally existed have been removed. In contrast to the east wall of the north aisle, a plain white wall to which the Achtermann Madonna is attached, the east wall of the south aisle is a quarry stone wall designed like a round arch with a Romanesque niche cutout. Parts of the historic masonry of the south east tower have remained visible.
Side portals
The entrances to the church are on the western front of the aisles. The double-door front portals are essentially designed in the same way.
The north portal is set into the west wall of the north aisle. In contrast, a small vestibule is attached to the south aisle, with the side portal embedded in the west wall. This vestibule also has another entrance to the south. The stairwell leading to the floors of the west tower can be reached from the vestibule. In the vestibule itself is a figure of St. Joseph, created in 1866 by an artist named Stracke. Its design is similar to the Achtermann Madonna on the east wall of the north aisle. In addition, a sandstone epitaph is hung in the anteroom.
North side entrance
North aisle, view of the Achtermann Madonna
Detail: choir room, chandelier
Erpho Chapel
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The Erpho Chapel is of particular importance. It is a rectangular chapel room with a flat vault that is attached to the west of the west tower.
Inside, the chapel is open to the tower room of the west tower, which is also open to the church. The chapel can also be entered from the outside, through a flat door from the north side, above which there is a relief of St. Mauritz. Outside of the service times, the Erpho Chapel and the tower room form a small prayer room, which is closed off to the east by two large, wrought-iron lattice doors in the passage between the tower room and the church.
In the Erphokapelle itself there are several epitaphs, u. a. the epitaph of the dean Johann Belholt († 1489). It is an early work by the sculptor Evert van Roden from Münster.
The tombs of the bishops Friedrich I and Erpho are also located on the north and south walls. The tomb of Friedrich I was created in 1576 by the sculptor Johann Reining from Münster. It was first set up in front of the choir screen, later on a side wall, and after the construction of the three-aisled nave was brought into the Erpho Chapel. Friedrich I is dressed in a miter, a choir cloak and, underneath, armor. His lower legs are crossed. His arms are brought together over his chest, his palms lie against one another and protrude from the figure. A bishop's staff lies across his body. A dog is depicted at his feet, flanked on both sides by angel sputtles. The figure of the bishop rests on a (stone) curtain, his head on a stylized scallop shell. Seen from above, the design resembles a portal with a round arch, which is filled with a stylized scallop shell.
The tomb of Bishop Erpho was created in 1620.
Interior
High altar painting
In the church there was once a baroque high altar from 1664. Only the altarpiece Christ on the cross has survived . It was created in the 17th century by Johann Bockhorst from Münster, a close collaborator of Peter Paul Rubens . For a long time, however, the painting was attributed to Anthony van Dyck . In this picture, the founder (Provost Arnold von Vittinghoff, called Schell) is shown on the left. In the course of the renovation of the church in 2009, the painting was restored and shines in its old splendor.
Crucifixion image
On the south wall of the choir there is a depiction of the crucifixion from 1547. This painting was created by Hermann tom Ring . To the left and right, at the foot of the cross, are Mary and John, on each side of them Peter is depicted on the left and Mauritius on the right. In the foreground of the picture the brothers Peter (left) and Heinrich (right) Bischopink are shown kneeling.
Figure eight Madonna
At the front of the north aisle there is a Nazarene-style Madonna and Child . The figure was created by Wilhelm Achtermann in 1861 and was part of a side altar in the same place from 1862. The altar itself is no longer there. The depiction of the baby Jesus is unusual: it is made relatively large and looks solemnly at a cross that it is holding in its hand. Mary's gaze is also directed to the cross. She herself steps on the head of a snake that winds around an apple ( paradise apple ).
The counterpart to the Madonna and Child is a figure of St. Joseph, which was created in 1866 by the sculptor Stracke for the side altar in the south aisle. This altar also no longer exists. Today there is a stone niche in front of which the baptismal font is placed. The figure of St. Joseph is now in the western porch of the south aisle.
Epitaphs
On the walls inside (and outside) the church there are several epitaphs, most of which come from the demolished cloister.
window
The historical windows, especially the windows of the choir closure with figurative representations, are no longer there. There are three more modern stained glass windows at the end of the choir. The three other windows in the choir as well as the upper clad windows in the central nave are equipped with simple, hand-drawn Goethe glass .
Light cross
The modern light cross above the altar designed by the artist Ludger Hinse from Bochum is remarkable. It was one of the objects in the exhibition project "The Cross with the Cross", which was shown in various churches in North Rhine-Westphalia from 2007 to 2009, including a. also in the Sankt Mauritz Church.
The light cross is made of plexiglass. It measures around 2 m in width and height and hangs freely in the church. It is always in gentle motion through the flow of air. Thanks to the special processing of the Plexiglas, the cross, which is transparent in itself, reflects every light (daylight, church lighting, candlelight) in the church and makes individual color tones of the light (light spectrum) "visible": the surface, which is transparent in itself, appears "colored" to the viewer. The respective color depends on the position of the light source, the angle of incidence of the light and the position of the viewer. The color appearance then changes again and again through a movement of the cross or the viewer's change of location and also radiates into the church.
Depiction of Christ crucified
Figure eight Madonna
organ
The first verifiable organ was built by Johan tom Soide in 1503. However, it fell victim to the Anabaptists as early as 1533/34 , who not only destroyed the organ, but also the altars and paintings and damaged the vaults of the church. In the period that followed, other instruments were used, including an instrument by the organ builder Johann Kersting from 1833 with eleven stops .
Today's organ goes back to the instrument that was built by Friedrich Fleiter (Münster) in 1882, using material from the previous organ from 1833, which was probably built by the organ builder Kersting (Münster).
Organ work
The organ is located in an organ chamber above the passage from the church to the Erpho chapel. The chamber has an area of approximately 16 m². On its south wall there is an approximately one meter wide passage, behind it, towards the north wall, separated by a wooden wall, the organ.
The play system is located in the corridor, on the side of the organ, in the middle of the two manual windchests. The stops are arranged in a horseshoe shape around the music stand (left vertical: pedal, above horizontal: Hauptwerk and manual coupler, right vertical: breastwork). The wind turbine is located outside the organ chamber, in an anteroom.
During the 20th century the instrument itself was changed several times. At the beginning of the 20th century, the main work was supplemented by a Cymbel III 1 ⁄ 2 ′. In the post-war period - declared as a restoration under monument conservation aspects - considerable changes were made to the organ work. In 1955, the original "singing" sound of the organ was "baroque" by Franz Breil (Dorsten) and the disposition was changed according to the taste of the time : In the breastwork, two 8 'registers were replaced by a fifth 1 1 ⁄ 3 ′ and a sharp IV 1 ′ replaced, the reed register Clarinet 8 'was converted to Dulzian 8'. After the game and register mechanism had already been replaced by a new one in 1955, Franz Breil replaced the entire mechanism again in 1983.
In 2002, the organ builder Romanus Seifert (Kevelaer) largely returned the work to its historical state from 1882. Reconstructed were u. a. the historical wind turbine, the historical playground, and three registers that had been removed in the course of the changes. By eliminating all registers that were added in the meantime, including the Cymbel III in the main work, the original romantic sound was restored.
The organ is considered to be the largest and most valuable instrument in terms of cultural history among the few preserved organs in Münster. In view of the acoustics of St. Mauritz Church, which have been described as outstanding, the organ with its romantic soundscape can produce cathedral-like sounds. The purely mechanical instrument has 22 registers. The register Sesquialtera II in the main work is intonated like a cornett, as the basis for Mixtur IV. The designation Bahs is the historical spelling.
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- Coupling : I / II (as manual coupling cable), II / P (as pedal coupling)
- Playing aids : pedal kick (16 ′, 8 ′, 4 ′)
- Remarks
- R = reconstructed register (Seifert, 2002).
casing
The historic case also dates from 1882 and is unique in terms of material and design. It was designed by the architect Wilhelm Rincklake and has been completely preserved.
The housing is about 5.40 m wide, 6.2 m high and protrudes about 1.25 m into the church interior. It is divided into two parts: the wrought-iron ("actual") organ prospect , and below it the approximately 1 m high cornice on which the prospect pipes stand.
The prospectus part consists of a central tower, each flanked by a flat pipe field, and on the edge, in turn, by a round tower. The round towers have filigree caps made of embossed brass sheet. The semicircular veil boards are also made of brass and show floral ornaments. Baskets made of sheet brass form the lower end of the two side round towers, similar to the upper tower ends, although they are more elongated and are therefore reminiscent of beehives.
The cornice is largely made of sheet steel. The academy frieze was designed by the painter Marianne Wagener from Münster and shows figures of apostles , angels and saints , which are painted on a gold background. It is interesting that the housing costs of around 8700 marks (1882) significantly exceeded the cost of the instrument (around 6300 marks, 1882).
Bells
There is a seven-part bell in the west tower. The base of the peal is formed by three large historical bells from the 16th century. The oldest bell ("clergy bell") was cast in 1539 by the bell founder Wolter Westerhues . Two more Renaissance bells were cast in 1550 by the bell founder Antonius van Utrecht; they show clear parallels in the decor to the older clergy bell .
In the 17th and 18th centuries, the ringing was supplemented by four more bells, but these were confiscated and melted down during the First World War . It was not until 1989 that the (historical) ringing was supplemented by four cymbal bells , which were cast by the bell foundry Petit & Gebr. Edelbrock ( Gescher ). In contrast to the historical bells, the cymbal bells are constructed in a heavy rib, so that a unity of the overall ring is not quite achieved. Likewise, the cymbal bells do not pick up all the tones of the large bells.
All bells hang on wooden yokes (ringing direction north-south). The historical bells hang next to each other in an old wooden belfry. In 2010 they were equipped with new motors and bell brakes to protect the bells. The cymbal bells hang to the side, in a new, single-yoke bell cage on two levels.
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No. |
Surname |
Casting year |
Caster |
Ø (mm) |
Weight (kg) |
Nominal (16th note) |
Inscription / (notes) |
|
| 1 | Mauritius |  |
1550 | Antonius van Utrecht | 1236 | 1180 | d 1 +2 | (Latin inscription, Gothic characters) Mauritius is my name. My ringing should please God. I call the living, I ring the dead. Antonius van Utrecht made me. 1550 |
| 2 | John |  |
1090 | 820 | f 1 +10 | (Latin inscription) Johannes is my name. My ringing should please God. I call the living, I ring the dead. Antonius van Utrecht made me. 1550 |
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| 3 | clergy |  |
1539 | Wolter Westerhues | 882 | 400 | a 1 +9 | (Latin inscription) Previously destroyed by the evil Anabaptists, this bell was renewed by the clergy in the year of the Lord in 1539. God alone is the glory. |
| 4th | Maria |  |
1989 | Petit & Gebr. Edelbrock | 790 | ~ 345 | c 2 +9 | Magnificat anima mea dominum Praise the Lord to my soul! |
| 5 | Cardinal von Galen |  |
721 | ~ 285 | d 2 +8 | With the cardinal's coat of arms, his name and the date of death March 22, 1946. Nec laudibus nec timore Not praise of people, not fear of people (should move us) . |
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| 6th | Niels Stensen |  |
656 | ~ 210 | e 2 +8 | What we see is beautiful, what we know is more beautiful, and what we cannot grasp is most beautiful. | ||
| 7th | Gabriel |  |
558 | ~ 128 | g 2 +9 | Listen to the word of the Lord and proclaim it. |
There have been two small bells in the tower lantern since 1958. They serve the quarter-hour strike and cannot be rung.
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No. |
Surname |
Casting year |
Caster |
Ø (mm) |
Weight (kg) |
Nominal (16th note) |
Inscription / (notes) |
| I. | Maria Regina | 54 | 85 | f 2 | |||
| II | Carolus | 45 | 50 | as 2 |
Church treasure
St. Mauritz has numerous valuables and everyday objects from the treasure of the former monastery: in addition to various liturgical implements (chalices, monstrances, candlesticks, cloak clasps for the choir cloaks, etc.), some reliquaries have also been preserved. a. two arm reliquaries of St. Mauritius and his companion Exuperius , which are dated to the year 1497. In addition, the church treasures include some very valuable paraments and "profane" objects, such as 4 of the original 14 "drinking cups", which were made around 1540 and were later given to the monastery chapter by the Mauritz provost Gottfried von Raesfeld .
Grave goods and Erpho cross
The oldest pieces include a small, approx. 10 cm high silver chalice, a paten and the ivory pommel of the bishop's staff of Friedrich I. These objects were taken in 1970 from the grave of the bishop who died in 1084.
The so-called Erpho Cross, which was donated by Bishop Erpho, who died in 1097, is about the same age.
Silver figures
There are also two (partly gold-plated) silver figures that were made in the mid-14th century. One figure represents the monastery patron Mauritius . He stands on a hexagonal (simple) base, wears armor with a shield and sword and holds up the holy lance , at the tip of which there is a flag. The other figure represents the Mother of God. She also stands on a hexagonal base, which is, however, made in the Gothic style, carries the baby Jesus, a Madonna medal around her neck and a crown on her head.
Silver altar
An important item in the church treasury is a wooden exposition clad with silver. This very elaborate baroque silversmith's work dates from 1729 and was made in Cologne.
The expositorium is divided into three parts. The lower part is formed by a profiled base with a small pedestal as a base for a monstrance or a cross.
The middle part of the expositorium consists of six Hermes pilasters , which end in a profiled structure that is designed similar to the base building. The pilasters are arranged in groups of three to the side of the exposure area. The half-length figures of Aaron and Melchizedech grow out of the central pilaster . They are flanked by angel half-figures that grow out of the two outer pilasters of each group of three. Each pilaster (or each half-figure) is assigned a small, one-armed, swiveling candlestick, which is attached to the lower plinth.
In the center of the end of the pilaster, ie above the exposure area, there is a filigree depiction of the dove of the Holy Spirit. Above the profiled final structure, in the middle above the depiction of the dove of the Holy Spirit , there is a half-figure depicting God the Father under a magnificently designed canopy . From the canopy to the left and right, cloak-like cloth surfaces, also made of silver sheet, fall down over the side ends of the pilaster field, which extend to the lower plinth structure.
The symbolism of the exposition lies in the representation of the Trinity : God the Father under the canopy, God the Holy Spirit in the form of the dove, and below, on the exposure area, God the Son Jesus Christ in the form of a consecrated host or a cross exposed for worship .
Additional information
literature
- Werner Dobelmann : Parish and Abbey of St. Mauritz in Münster. Origin and development of a district and its foreland. Munster 1971.
- Hildburg and Uwe Lobbedey: St. Mauritz in Münster. Westfälische Kunststätten , issue 48, Münster 1987.
- Antonia Bösterling-Röttgermann: The Collegiate Foundation St. Mauritz-Münster. Studies on community life and the rulership of the monastery from its beginnings to the middle of the 14th century. With a list of provosts, deans, canons, vicars and chaplains of the monastery. Münster 1990, ISBN 978-3-402-03836-9 .
- Matthias Herkt: Possible uses of computer-aided recording and evaluation aids using the example of the goods and income directories of the St. Mauritz Collegiate Foundation in Münster. Bochum 1991, ISBN 3-88339-902-7 .
- Matthias Herkt: Münster - Collegiate Foundation St. Mauritz. In: Westphalian monastery book. Volume 2, ed. v. Karl Hengst, Münster 1994, pp. 39-45, ISBN 3-402-06888-5 .
- Wilhelm Kohl : The collegiate monastery St. Mauritz in front of Münster. Germania Sacra (New Volume 47), Berlin / New York 2006, ISBN 978-3-11-019235-3 ( digitized ).
Web links
Individual evidence
- ↑ Wilderich von Droste zu Hülshoff : 900 years Droste zu Hülshoff, Verlag LPV Hortense von Gelmini, Horben 2018
- ↑ Mauritz-Friedhof at www.sankt-mauritz.com , accessed on August 20, 2019
- ^ Catholic parish of Sankt Mauritz. Retrieved August 5, 2019 .
- ↑ Felix Genn: Incorporation of the Catholic parishes of St. Benedict, St. Edith Stein and Herz Jesu and St. Elisabeth in Münster into the Catholic parish of St. Mauritz in Münster on May 30, 2013. In: Official Gazette for the Reguerzngsiertel Münster, No. 19 2013. Bezirksregierung Münster, May 10, 2013, accessed on August 5, 2019 .
- ^ The restoration of the Fleiter organ from 1882 in the Catholic parish church of Sankt Mauritz, Münster. (PDF; 1.1 & MB) July 3, 2013, p. 5f. , accessed on August 5, 2019 .
- ^ The organ in St. Mauritz zu Münster - audio sample. (MP3; 3.3 MB) In: orgel-information.de. Retrieved August 5, 2019 .
- ^ Hans Adler, Roland Eberlein: The organ in St. Mauritz in Münster. Retrieved August 5, 2019 .
- ^ Ingeborg Schoneberg: The organ of the Mauritz Church. In: sankt-mauritz.com. Retrieved August 5, 2019 .
- ↑ Information on the bells from a bulletin from the bell expert of the Münster diocese
- ↑ Münster: Kerkklokken Katholieke Mauritzkerk (ring the bell) on YouTube , May 14, 2008.
Coordinates: 51 ° 57 ′ 45.6 " N , 7 ° 38 ′ 57.3" E