St. Mang (Kempten)
_1.jpg)
.jpg)
St. Mang is an Evangelical Lutheran parish church in the city of Kempten (Allgäu) . She belongs to the Evangelical Lutheran Church in Bavaria . The building that stands today dates largely from the 15th century. It is dedicated to Saints Magnus and Ulrich von Augsburg , the latter is only rarely mentioned from the early modern period. From 1527 the church was the center of the Reformation in the Kempten area. It is named for St. Mang Square .
It was rebuilt in 1767 in the Rococo style, a century later it was redesigned in the neo-Gothic style. From 1911 to 1913, many parts of this neo-Gothic remodeling of the exterior were dismantled, so that today's view is largely based on this restoration. In the 1970s the interior was renovated; an altar pedestal with a baptismal font was placed under the historic pulpit, which was removed again during the renovation of the interior in 2007.
The most famous piece of equipment is the high altar, which was made in 1893 and was awarded a gold medal at the world exhibition in Chicago and has been in the church since 1906.
location
The St. Mang Church is in the center of the former imperial city of Kempten. In the Middle Ages and in the early modern period, it was surrounded by a church district, which was separated from the rest of the city by a wall and rows of houses. The cemetery of the imperial city was within the church district until 1535; then it was relocated to a slope on the Burghalde outside the city wall. The Evangelical Cemetery is the successor cemetery there.
The Karnerkapelle St. Michael and St. Erasmus had stood in the cemetery near the parish church of St. Mang since the late 13th century . The houses within the church district were reserved for those working at the church, e.g. B. the pastors, the sacristan and the presinger. The cemetery chapel, profaned in 1557 , was demolished in 1857; In 2010, after the basement was uncovered, the ruins were designed as an underground showroom. The St. Mang Fountain is located on St. Mang Square, which is connected to the Town Hall Square . Other defining structures on the square, at that time outside the church district, are the Jenisch House and the Red House , both patrician houses.
The archaeological investigations of the old cemetery and the Karner chapel between 2008 and 2010 showed that burials had been there since the late 7th century. This makes the St. Mang Church, next to the St. Lorenz Church, the second parish church in Kempten, which has existed since the late 7th century. The Kempten settlement needed two parish churches so close together because the settlement area was separated into two parts by the Iller until around 1300 .
history
During excavations to install a coke heater in 1894, the foundation walls of the Romanesque St. Mang Church, which was probably built in the 12th century, were exposed. The earlier theory that the first monastery in Kempten had stood on the site of the church since the middle of the 8th century has been refuted by recent research (archeology, history, geology).
The current Gothic church building was started in 1426; the Romanesque church was demolished parallel to the new building. The choir was inaugurated in 1427 and the nave was built in 1428. A year later, the tower was raised to around 60 meters. During the new building, the two-story cemetery chapel of St. Michael and Erasmus was probably used for the services. The side chapels were added to the south aisle as burial chapels from Kempten patrician families between 1512 and 1519 .
As a result of the “Great Purchase”, in which the imperial city bought itself free from the abbey for 30,000 guilders in 1525, the Reformation developed in Kempten in the following years. The Church of St. Mang presented itself as a focal point of various opinions and ideas. The Reformation was instigated by Pastor Sixtus Rummel; His two chaplains Johannes Rottach, a Luther supporter popular with the wealthy class , and Jakob Haystung, who was a supporter of Huldrych Zwingli and the common people, played a more important role.
Through the influence of Jakob Haystung, the imperial city first joined the Zwinglian direction of the Reformation in 1527. In the ensuing iconoclasm in 1533, the altars were cleared out and the wall paintings were whitewashed; the three side chapels, each set up in 1512, 1518 (Wolfgang chapel) and 1519, were also given up. The impetus for this procedure was a vote in the citizenship: 500 voted for the removal of all images of Christian people and actions, 174 people against. This minority spoke out in favor of covering these representations with cloths; this idea was not implemented because of the vote. After the vote, the donors of the church furnishings had four days to salvage their art treasures from the church. The altar tables were removed and burned. Because they did not want to spoil themselves with the patrician family Vogt, who donated the organ and who had close contacts to the imperial court, the organ was left untouched, but was not used for decades. Zwingli's teachings were only present for a short period of time during the Reformation. In 1553 the Slovenian reformer and follower of Martin Luther Primož Trubar came to St. Mang's Church as a preacher. He relaxed the aggravated situation and inserted the Augsburg Confession as the basis for the church order. During his time in Kempten, he translated the New Testament into Slovenian . The religious form of the imperial city of Kempten thus resumed Luther's traits. The Protestant pastor Ottmar Stab signed the Lutheran concord formula in August 1577, the mayor Paulus Röhr followed in 1579 with his signature on behalf of the city council. Another important person during the Reformation was Matthias Waibel .
On one of the central pillars of the north wall, a pulpit has formed the center of the nave since 1577, and has been the renaissance pulpit made of walnut wood since 1608, with an octagonal sound cover with a scroll pyramid above it. Folding benches enable the congregation to face the pulpit to preach. Opposite the pulpit, a south pore was built in 1586 with a mayor's box added later. This transverse alignment of the ground floor stalls and the gallery to the pulpit and not primarily to the choir with altar corresponds to the understanding of the service of worship, as Luther explained at the inauguration of the Torgau Palace Chapel in 1544. The St. Mang Church is one of the early transverse churches in southern Germany.
On January 29, 1629 a storm raged in Kempten, which also damaged the tower of St. Mang's Church. The renovation of the tower lasted until December of the same year. The organ came to the choir entrance in 1648. A major reconstruction of the church with the stuccoing of the interior took place in 1767. The church was rededicated the following year. The tower was renovated in 1770.
During a comprehensive restoration of the exterior and profound changes to the interior, the church was redesigned in a neo-Gothic style in 1857. In 1912 the church received a porch. During the exterior renovation in 1959, the gables of the side chapels were redesigned. A major restoration with renewed alterations to the outer facade was carried out in the first decade of the 20th century.
In 2007 the building was renovated inside again. During this time, a modern folk altar , a lectern and a baptismal font were set up, which were designed by Werner Mally. A figure of the crucified from the 17th century was placed on a modern stand without a cross bar.
In October 2014 it turned out that the south hall - which originally consisted of several assembled chapels - is in danger of collapsing as long as the building is not statically supported. This also affects the gallery in the nave, which is supported by the south hall extension.
Building description
The east-facing basilica has a retracted choir of two yokes and a five-eighth end . The ceiling consists of a ribbed vault with three plate-shaped keystones and consoles. There are pointed arched windows between two stepped buttresses. A sacramental niche with a double bulge profile is located on the north wall. The choir arch is pointed and drawn on three sides. The adjoining central nave consists of seven bays. The ceiling is covered with a semicircular needle cap barrel. This is based on a skylight made of pointed arched windows with modern tracery . The arcades are pressed and pointed. They are supported by eight-sided pillars with a profiled cornice. The side aisles, which are flat above the throat, have pointed arched windows. A cannonball is embedded in the southern wall of the tall nave at the east end and is marked with a frame and the date September 17, 1796 : this projectile was fired from the other side of the Iller during a siege by French troops.
Three chapel extensions with two pointed arch windows each adjoin the south aisle. There is also an anteroom with a pointed arched window and a round arched passage under an oval. The two chapels are connected like a ship by a wall breakthrough from 1767. The ribs of the vaulted ceiling were chipped off and replaced by flat stucco ridges. The eastern vestibule has a star formation. In the north aisle there are two, in the south three ogival side exits in arched niches.
In the west of the church there is a gallery with a three-part parapet on Tuscan columns. The south pore is built into the south aisle. The parapet cornice is an extension of the mantelpiece cornice of the pillars. The organ stood on the east gallery, which was demolished in 1857, under the choir arch. The side aisles and the chapels have a total of four staircases to the galleries at the west ends. The steps are decorated with square balusters.
The west facade is divided into three parts and has a pilaster structure under a volute gable with a pointed arch frieze. The west facade was given its current appearance in 1912. Until then, the facade was designed in a neo-Gothic style. Today's shape largely corresponds to the facade from 1768. Above the sign , a high pointed arch window is let into the wall. The sign dates from 1912 and has a large arched exit. On both sides of the sign there are pointed arch exits under pointed arch windows. The gables of the three side chapels date from the time of the last restoration. Above the pent roofs of the side aisles, there are skylights under a pointed arch frieze with pilaster strips. The gable roof has dormers.
The tower is in the southern choir corner. The basement is barrel vaulted. The light slots have a straight lintel in the lower part , while in the upper part they are arched. Walled, coupled sound arcades with a round arch are located in the rectangular glare field of the clock floor. The former intermediate column was broken out. Above is the former bell storey in the Romanesque saddle roof tower. The current bell storey was built from brickwork around 1440. On each side of the tower there is a sound arcade with modern tracery under the gable. Next to it there are two ogival panels. The eight-sided tip of the helmet is covered with hollow bricks.
The sacristy adjoins the tower to the east. It is divided by a partition. It has two cross-ribbed yokes with plate-shaped keystones and stucco ridges from the 18th century. The iron-studded door to the choir is painted with eagles. The upper floor was added in 1908.
Furnishing
The old baptismal font was made of stucco marble around 1767. On the lid there is a carved group of the baptism of Christ. Until 2007 it stood on the altar pedestal under the pulpit, today in the sacristy.
The Romanesque and Gothic brick tiles, which in 2007 at the east end of the north aisle formed the flooring of the "corner of silence" in front of the foundation of a Gothic side altar, show, for example. Sometimes embossed animal and leaf motifs, including a unicorn.
Three epitaphs are distributed in the church. A sandstone slab with a heavily worn relief of a standing priest with a book and a partially destroyed inscription is located in the north aisle. It is said to be the epitaph for Pastor Sixtus Rümelin, who died in 1506. In the choir there are epitaphs for Anna Sattler, who died in 1523, with her coat of arms and the epitaph for Countess Anna Amalia zu Königseck and Rothenfels , who died in 1676.
Frescoes
The frescoes in the church date from the 15th and 16th centuries. In the choir there are apostle crosses on the walls and tendrils on the vault ribs; they date from the time the choir was built around 1427. In between there are still faintly visible angel figures. Frescoes on the choir wall were whitewashed in 1533 and rediscovered in 1913, but not exposed again. In addition to architectural motifs, these also showed a large picture of the Annunciation. It should date from the beginning of the 16th century. According to the city archivist Friedrich Zollhoefer (1897–1975, period of service 1947–1969), this should be a work from the Memmingen School of the Strigel family of artists . In addition, another fresco between two painted wings with a pope and a saint showed a central image with a preserved group around a pope, a cardinal and two clerics. According to Friedrich Zollhoefer, this is probably a picture by the Kempten painter Ulrich Mair (citizen of Kempten from 1468 to 1477).
Piece
The stucco in the nave was attached there in 1767. It could be a work by Johann Georg Wirth (mentioned 1753–80). It is designed as an economical shell, frame stucco, keystones over profile frames and consoles. A cartridge marked 1768 is located above the large west window . The central nave wall is made of stucco. The entablature is cranked in three parts. The approach is flat in the apex and has a belt arch decorated with rocailles. There are colorful putti, palm and flower vases on the pedestals. The eight putti have attributes that represent the preparation of the new covenant through the old covenant. They show from west to east: the sacrifice through Melchizedech and the Lord's Supper, the old law through Moses and the new law, the cross and baptism and the Ecclesia and a synagogue. There is a cartouche with the eye of God above the archway. On the parapet of the south pore, between putti depicting Justitia and Prudentia , there is a double coat of arms of the imperial city of Kempten under a lambrequin .
Altars
The old Gothic altars of the church were destroyed in the iconoclasm in 1533. Before the neo-Gothic redesign in 1906, a stucco marble altar with an antependium served as an altar. Today this altar is under the eastern organ gallery, the antependium in a storeroom of the church.
The altar was designed as a whole by a Nuremberg architect named JM Schmitz , the sculptor Fritz Schiemer in Nuremberg carved the Last Supper and Crucifixion group, the other panels were carved by the Memmingen art carpenter Leonhard Vogt . Oak wood was used as the material for the frame elements and limewood for figures and reliefs. The Holy Blood Altar in the Church of St. Jakob in Rothenburg ob der Tauber by Tilman Riemenschneider and the altar by Hans Brüggemann in Schleswig Cathedral served as a model .
The altar received two bronze medals at the world exhibition in Chicago in 1893, once for the work of art and once for the craftsmanship exercised. The altar was awarded the gold medal at the Bavarian State Exhibition in Nuremberg in 1896.
The back of the altar is inscribed with Vogt Memmingen Bavaria 1893 . The altar consists of a predella with a three-part structure. The extract is designed as a truss with angels and a statue of Jesus. Angels playing the trombone can be seen on the bursting of the altar sides. The middle shows a crucifixion scene. The three crosses on Golgata occupy the upper half of the middle part of the altar. There is a crowd underneath. Including the fainted Maria with Johannes and Maria Magdalena. A woman is holding Veronica's handkerchief . Several Roman soldiers are also represented on the scene.
The sides of the altar are carved with four scenes from the life of Jesus. At the top left there is an annunciation scene, at the top right the birth of Jesus in the stable in Bethlehem. Palm Sunday is shown at the bottom left . Opposite him is a scene from the Mount of Olives on the right . The predella shows the last supper.
This altar was acquired for 8,000 gold marks with a donation from the Kempten entrepreneur Leonhard Gyr (1839–1921). On October 31, 1896, on Reformation Day, the altar was erected in the church for the first time.
Choir window
The choir windows of the church were made between 1866 and 1869 in the Royal Bavarian School of Applied Arts in Nuremberg . Christian Klaus drew the drafts on cardboard and colored them under the direction of the director August von Kreling and Professor Friedrich Wilhelm Wanderer. Johann Klaus, the draftsman's brother, used this template to paint the Christian scenes on glass. In addition to the precise figurative representation, the scenes are particularly concerned with the representation of states of mind.
The colors were applied directly to the glass, parts of the image held in gray were implemented using the grisaille technique. The entire window ensemble is a gift from the wholesaler's widow and patrician Regina von Neubronner . She financed the seven Gothic style windows for "the better looking church". The old Gothic choir windows were no longer preserved. Neubronner's will stipulated exactly which motifs were to be made. The dean Johann Friedrich Linde accompanied the work. The base pictures with scenes from the Old Testament were chosen by him.
The choir windows have been restored in recent years because of severe damage from air pollution. On the occasion of the completion of this complex measure, a multi-page leaflet with photos of the windows was issued.
pulpit
The pulpit on a north pillar in the nave dates from 1608. The staircase and the pulpit are adorned with a frieze , tendrils, columns, Ionic capitals with angels' heads and fruit pendants and drilled aedicules with shell niches. On the octagonal sound cover there is a volute pyramid .
Directly opposite in the south pore is the mayor's box, which is representatively decorated with stucco and two angel figures, an expression of the self-confidence of the patrician city regiment. The two city coats of arms were affixed between the angel figures, the blue and white split shield used until 1488 and that of Emperor Friedrich III in 1488 . awarded double eagle coat of arms.
Stalls
Some of the pews in the church date from the 17th century. In the side aisles it is summarized by parapets with drilled fields and pilasters . In the western part of the aisles and under the gallery it has curved cheeks with Tuscan pilasters. Next to the main entrance there are two four or five-part oak dorsals with Renaissance portal motifs in the style of the pulpit. The cheeks are carved in the shape of a griffin .
There are two four or five-part benches in front of the choir arch. The southern one has been painted over with rocail painting . Some double and single chairs have been preserved in the aisles. One of the side chapels is marked 1668. The stalls in the main nave are modern and were purchased in 1913.
According to art historians, the choir stalls, which were removed during the iconoclasm in 1533, served as a model for the St. Martin Church in Memmingen, which began in 1507 .
painting
There are a total of six paintings in the church. A crucifixion scene is by Hieronymus Hau and was painted in 1726. Another shows the daughter of Jairus . A picture by Ludwig Thiersch with a mount of olives scene was painted in 1868. A portrait of the reformers Philipp Melanchthon and Martin Luther from the 17th century is hung in the choir . In the sacristy there is a portrait of Pastor D. Zeämann from 1630. It is attributed to the painter Ulrich Mauch (mentioned 1624).
Wickerwork stone
.JPG)
The wattle stone found in 1894 when excavating a heating system comes from a Carolingian choir screen . The building piece discovered in the foundation of the main altar has vine tendrils and wickerwork ornaments. When new church buildings were built, parts of the choir screens were often reused as a sign of the continued existence of the old church significance.
In the high mediaeval successor to the Romanesque church, the stone could have found its new use as a reliquary locus. This thesis is underpinned by the accurately carved rectangular opening that offered space for a capsule with relics. When the church was rebuilt in the 15th century, the wattle stone in the foundation of the Gothic altar was walled up again.
Organs
The main organ was built in 1987 by the Schmid organ building workshop in Kaufbeuren ; Parts of the previous organ were reused for the case. The instrument has 54 stops on four manuals and a pedal . The organ is one of the largest organs in the Allgäu.
In 2019 the instrument was revised and partially changed by the organ builder Klais; in this context u. a. the small pedal is separated from the fifth manual, and the previous reeds are made playable as an auxiliary work. Originally the registers of the small pedal could be played on a separate manual (V. Manual).
The 16 'trombone found a new place behind the organ, the trumpet 8' and field trumpet 4 'registers got their own drawer, which can now be played as an auxiliary from the 1st and 2nd manual as well as the pedal. The bassoon 16 'and gamba 8' registers, which can be played from manual II and from the pedal, were added to their own drawer. The pedal has been extended by a base 32 ', which flows into the existing sub-bass from c 0 . In the swell, the Clairon 4 'was replaced by a Hautbois 8'. There was also a glockenspiel after mute, playable from the first manual, and a cymbal star. In order to give the overall sound more gravity, sub-octave couplings for the II. And III. Manual added.
The new gaming table now has four manuals.
|
|
|
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
- Coupling : I / II, III / II, IV / II, I / P, II / P, III / P, IV / P, sub-octave coupling to II. And III. manual
- Playing aids : Tutti, typesetting system
The location of the choir organ is directly behind the choir arch . This work was built in 1972 by the same organ builder.
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
In 2000 a chest organ was added.
Bells
Five bells hang in the tower . They have been sounding since October 2017 in the tone sequence es 1 gb 1 as 1 bb 1 and 2 . Bells 1 and 2 date from the years 1376 and 1383, respectively. The originally last and third bells, which were added as a supplement from the years after the Second World War, did not fit the sound of the bell. Therefore, three new bells from the Gebhardt bell foundry in Kempten were added in an extremely heavy rib. In addition to these measures, the tower staircase was renovated and new electronic bells and sound shutters purchased.
Pastor
The Slovenian reformer and Bible translator Primož Trubar was pastor at St. Mang's Church from 1553 to 1561 . He succeeded in asserting the Lutheran direction of the Reformation, which until then was only represented externally by the imperial city, whereas “inwards” there was still a tendency towards the Zwinglian direction. A memorial plaque at the old parsonage, which was set up in 1922 on the initiative of the mayor of Kempten and local researcher Otto Merkt , commemorates his work in Kempten . It is the first commemorative object of Truber in Germany since the 16th century. In 2008, a bronze bust of Truber was placed on the outside of the south side of the church, the work of a Slovenian artist.
His successor was the pastor Otmar Stab from Wiesloch, who died in Kempten in 1585.
The inventor of the ice cream machine, Carl von Linde, spent his youth from 1849 to 1865 in the rectory of St. Mang's Church, where his father was a pastor. A plaque there commemorates him today. The humanistic grammar school in Kempten was named after Carl von Linde.
Rectories
.jpg)
- St.-Mang-Platz 6
There is a listed rectory right next to the city wall . It was built in 1329 and is connected to the church on the upper floor by a corridor. Carl von Linde spent his youth in this house .
- Reichsstrasse 6
The rectory on Reichsstraße, which is also under monument protection, is a four-storey eaves side building with a late medieval core. The house, modified in the 17th century, was renewed in 1957.
Individual evidence
- ↑ Birgit Kata, Gerhard Weber: Archaeological findings in the area of the Kempten residence. In: Birgit Kata u. a. (Ed.): “More than 1000 years…” The Kempten Abbey between founding and closing 752 to 1802. Likias publishing house, Friedberg 2006, ISBN 3-9807628-6-6 , pp. 55–62
- ^ Michael Petzet: City and district of Kempten . 1st edition. Deutscher Kunstverlag, Munich 1959, p. 24 f .
- ^ Rainer Atzbach, Nelo Lohwasser: The iconoclasm in the Fehlboden. P. 93f. ( online ( Memento of the original from December 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this note. , PDF)
- ↑ See BSLK , p. 766; see. P. 17.
- ↑ Inlays in the tower knob of the parish church of St. Mang in Kempten when it was removed and rebuilt, Tobias Dannheimer, 1871, p. 2
- ↑ St. Mang parish (ed.): Meditative tour. St. Mangkirche Kempten. Brochure, undated
- ↑ St. Mang in Kempten Is the church in danger of collapse? ( Memento of November 3, 2014 in the Internet Archive ) In: br.de, October 21, 2014 (accessed on October 23, 2014)
- ^ Friedrich Zollhoefer: Remains of the former wall paintings in the St. Mang Church in Kempten. In: Heimatverein Kempten (ed.): Allgäuer Geschichtsfreund No. 55, Kempten 1955, pp. 24–29.
- ↑ a b Henning Storek: The history of the carved altar. In: Evangelisch Lutherisches Pfarramt Sankt Mangkirche (Ed.): The carved altar. undated S.
- ^ Evangelical Lutheran. Parish office of St. Mang Church (ed.): The choir window. Picture books of faith. undated S.
- ↑ Birgit Kata, Gerhard Weber: Archaeological findings in the area of the Kempten residence. In: Birgit Kata u. a. (Ed.): “More than 1000 years…” The Kempten Abbey between founding and closing 752 to 1802. Likias Verlag, Friedberg 2006, ISBN 3-9807628-6-6 , p. 48f.
- ↑ Harald Derschka, Elke Weinhardt, Roger Mayrock, Azer Araslι, Ernst Sontheim: The St. Mang-Platz and its history . Ed .: City of Kempten: Sikko Neupert, Birgit Kata. Kempten (Allgäu) 2010, p. 31 .
- ↑ Information on the revision of the organ on the website of the organ builder
- ↑ Information on the choir organ
- ↑ Report in the Sunday paper , accessed on July 3, 2018
- ↑ Bell column. in: Church service and church music Strube, Munich 2018, ISSN 0017-2499 . Issue 1, p. 20.
- ↑ Ludwig H. Hildebrandt: Ottmar Stab from Wiesloch, reformer from Sinsheim, court preacher and pastor in Kempten, and his family in the 16th century In: Allgäuer Geschichtsfreund 103, 2003, pp. 7-98, ISBN 3-00-013396- 8th
- ^ Alexander Duke of Württemberg: City of Kempten (= Bavarian State Office for Monument Preservation [Hrsg.]: Monuments in Bavaria . Volume VII.85 ). Schnell & Steiner publishing house, Munich / Zurich 1990, ISBN 3-7954-1003-7 , p. 68 .
- ^ Alexander Duke of Württemberg: City of Kempten (= Bavarian State Office for Monument Preservation [Hrsg.]: Monuments in Bavaria . Volume VII.85 ). Schnell & Steiner publishing house, Munich / Zurich 1990, ISBN 3-7954-1003-7 , p. 88 .
literature
- Michael Petzet : City and District of Kempten. Brief inventory (= Bavarian art monuments. Vol. 5, ISSN 0522-5264 ). Deutscher Kunstverlag, Munich 1959, p. 18ff.
- Alexander Duke of Württemberg: City of Kempten (= Bavarian State Office for Monument Preservation [Hrsg.]: Monuments in Bavaria . Volume VII.85 ). Schnell & Steiner publishing house, Munich / Zurich 1990, ISBN 3-7954-1003-7 , p. 86 ff .
- Wolfgang Haberl: The Protestant Sankt Mang Church. Kösel-Verlag, Kempten 1972.
- Birgit Kata: The Erasmus Chapel showroom in Kempten (Allgäu). 1st edition. Kunstverlag Josef Fink, Lindenberg im Allgäu 2011, ISBN 978-3-89870-706-0 .
- Harald Derschka , Elke Weinhardt, Roger Mayrock, Azer Araslι, Ernst Sontheim: St. Mang-Platz and its history . Ed .: City of Kempten: Sikko Neupert, Birgit Kata. Kempten (Allgäu) 2010.
- Inlays in the tower button of the parish church St. Mang in Kempten when it was inspected and rebuilt in 1871. Printed by Tobias Dannheimer, Kempten 1871 (digital copy : Bayerische Staatsbibliothek München ).
Web links
Coordinates: 47 ° 43 ′ 32.1 ″ N , 10 ° 19 ′ 11.4 ″ E