St. Maria de Rosario (Dimbach)

The church in Dimbach

The church of St. Maria de Rosario (German: Maria im Rosenkranz) in the Volkach district of Dimbach is a Roman Catholic pilgrimage church assigned to the Reupelsdorf parish .

history

The church in Dimbach has an eventful history. Although the village was never the seat of its own parish, the pilgrimage that began in the 17th and 18th centuries and the Rosary Brotherhood had a lasting impact on the church and community.

Establishment and provost (until 14th century)

A first church building from the 11th century has been proven by excavations. It was a small chapel to which a choir tower was added at a later date. A community in Dimbach is first recorded in the sources in 1113. At that time the church was a branch of Gerlachshausen . In the second half of the 13th century, the construction of today's church began at its current location. This is evidenced by the late Romanesque remains inside the church.

After the village and community had often changed the village lords in the 12th and 13th centuries, Abbot Sifrid von Münsterschwarzach received the bailiff over Dimbach in 1306 . The monastery retained this right until secularization in 1803. In 1325, work was again carried out on the church building. Prince-Bishop Wolfram Wolfskeel von Grumbach commissioned the Gothic extension of the previously Romanesque chapel, which was consecrated to St. Mary.

A short time later, in 1334, the Convent Schwarzach taught in a provost , which was occupied by three monks and served many abbots of the monastery as a retirement home. In addition, unwanted monks were repeatedly deported to Dimbach. In the same year, the west tower and the side aisles were also consecrated .

The beginning of the pilgrimage (up to the 17th century)

The Markgräflerkrieg in the middle of the 15th century destroyed the village of Dimbach and left the provost's office deserted. The church was hardly used in the following years. These circumstances led to the dissolution of the provost in 1491; now the monastery Schwarzach took over the administration in the place. The decline of the village and church did not end until 1593. Abbot Johannes Burckhardt began a comprehensive renovation of the church building, which was completed in 1611/1612. The renovation of the tower spire followed in 1617. Bishop Julius Echter von Mespelbrunn converted Dimbach back into a branch of Gerlachshausen.

The 17th century brought the establishment of a rosary brotherhood for the church in Dimbach in 1630. This referred to the traditions of a pilgrimage in earlier centuries and encouraged pilgrims in the place. After the turmoil of the Thirty Years War in 1661, the brotherhood had to be almost completely re-established. In 1653 the monastery sent a permanent curatus to Dimbach. From 1667 onwards the pilgrimage began to grow. It increased until the 19th century, but was always limited to the surrounding monastery communities.

In 1685 a baptismal font was consecrated for the first time in the church , the basis for an independent parish. The inclusion in the Schematismus of the prince-bishopric of Würzburg , which appeared at the same time, also speaks for the intended upgrading as an independent parish. At the end of the 17th century, the interior of the church was comprehensively renewed, which is currently hardly preserved. This included a rosary Madonna, which, like Maria in the vineyard, hung freely floating in the room.

The baroque village church (until today)

In the 18th century the church building was renovated in baroque style. In 1747, ornamental painting was added to the window frames. Ten years later, Abbot Dominikus Otto von Bamberg had the flat ceiling installed and the upper facade windows reduced to today's size. Most of the furnishings date from this time. In 1767 the baroque redesign was completed. From 1790 the end of the short flowering of the pilgrimage to Dimbach began; the education contributed to this.

The dissolution of the Schwarzach monastery through secularization in 1803 also affected the curate in Dimbach. In 1817 minor repairs were made to the tower, before Dimbach became a branch of the Stadtschwarzach parish a year later . The attempt in the late 19th century to set up a small chaplaincy or to be considered a Reupelsdorf branch from now on failed. In the 1920s and 1930s, the church building was poorly repaired. After the Second World War and the re-establishment of the Münsterschwarzach monastery , Dimbach returned to his old parish in 1962. Between 1972 and 1980 the church was extensively renovated. Today Dimbach is a branch of the parish Reupelsdorf. The church building is registered as a monument by the State Office for Monument Preservation under the number D-6-75-174-176. Remnants of previous buildings in the ground have the number D-6-6127-0085. The church is on the Franconian Marienweg .

architecture

A figurative console in the tower hall

The church of St. Maria de Rosario presents itself as a three-aisled basilica with four bays. It is easted and has a west tower. She quotes Gothic forms, especially in the tower and choir. The long roof begins in the west as a gable roof and ends in the choir as a hipped roof.

Choir

The choir of the church was built at the beginning of the 14th century, making it the youngest part of today's church. A five- eighth ring formed by two yokes closes it off to the east. On both sides of the first choir bay, square extensions contain a chapel and the sacristy . The choir is structured externally by six buttresses that are barely decorated. Four two-lane lancet windows have three- and four-pass tracery . Only the main choir window differs from it. It is three-lane and has an asymmetrical tracery.

Inside the choir is equipped with a ribbed vault . Deep buttresses protrude far into the choir. The vault keystones bear foliage , a dove and a rose from east to west . The door of the sacristy has pointed arches.

tower

Construction of the tower in the west of the church began around 1300. The church tower was completed in 1334. It has four storeys and was placed in front of the central nave in a rectangular shape. On the first three floors it contains two side rooms, of which the north was used as a mortuary chamber for a long time and could only be reached via the cemetery . The side rooms are closed off from the outside by a simple monopitch roof. A central grooved Gothic portal forms the main entrance to the church on the lower floor. Above that there is a simple round window.

Another round window on the penultimate floor has three-pass tracery. Above this is the bell house with four arched windows with fish-bubble tracery. There are clocks in the north, south and west of this floor. The pear-shaped helmet is closed off by the tower knob and Maria in the halo as a wind direction indicator .

The so-called tower hall is separated from the nave by a pointed arch. A cross vault with a pear rod profile spans over it. All the consoles on the west wall are figurative: in the south a man with a cap, in the north a figure in a hooded robe with crossed legs and a pouch on his belt. She carries a sword in her right hand, the left seems to be carrying the vault ribs.

Nave and aisles

In the middle of the 13th century, the previous building was redesigned into today's nave. The grooved pointed arch windows structure the aisles on the outside. Portals on both sides have simple garments . On the south side, an inscription in the walls announces a renovation: “D · A · M · S 1 · 7 · 6 · 7”. The top windows, originally also provided with pointed arches , are now simple rectangles.

Inside, octagonal pillars with fluted bases separate the aisles from the nave. Their capitals support the pointed arch arcades of the nave. The side aisles have round arched belt arches. The architecture of the nave is continued in the roof of the church. Truss-like rafter girders form the backbone of today's church.

Furnishing

The high altar with the Madonna of Mercy

The interior of the church is shaped by the baroque redesign in the 18th century. Older pieces are a crucifixion relief from the 11th century and the Madonna of Mercy in the high altar.

High altar and Madonna of Mercy

The late baroque high altar , which fills the church choir, was completed in 1719 as part of the baroque renovation of the church. A four-column structure forms the basic framework for the altarpiece . The columns are round and taper slightly towards the top. The column capital is kept simple with a few ornaments. Between the pillars are the life-size figures of the patron saint of the Münsterschwarzach Abbey, Saint Felicitas on the left and Saint Benedict on the right .

A massive cornice, interrupted in the center by a coat of arms of Abbot Januarius Schwab, leads over to the altar extension . The altar was erected during Schwab's tenure. The actual structure is formed by a group of figures of the Most Holy Trinity in a halo of clouds, surrounded by putti. A canopy with a bluebell ornament, supported by two volutes, surrounds the scene. There are two angel figures with the attributes of Justitia. A cross crowns the altar.

The Madonna of Mercy forms the center of the altar. It has been kept there since 1724 instead of an altarpiece. A glass shrine for them has been since 1767 in a glass shrine framed with shell work , adorned by several putti and crowned by two angels. There are marbled panels on its sides to hide the bases of the inner columns. The tabernacle in front of it is surrounded by twisted columns and is dominated by a golden eagle.

The Madonna of Mercy in the center of the high altar was the destination of the pilgrims . Their veneration only began in the 1820s. It was created in 1398, as evidenced by an inscription in the base: “anno. dm. m. ccc. Ixxxxviii. iar. wait I. ready". Since the back of the figure is also colored, one can assume this. that she was first used as a processional Madonna .

In the 15th century a second layer of paint, which is visible again, was reacted on the figure. In the post-medieval period it was repainted twice. Faces and hair were then given a fifth layer of color. The clothing of the miraculous image began in 1611 . The baby Jesus had to be moved from the right knee to Mary's right arm. The clothing continued until 1974, before the statue of the Virgin was restored in 1975/1976. Previously, in 1724, the Madonna of Mercy was placed in the center of the high altar.

The Madonna is 119 cm tall. It rests on a base that bears the above-mentioned inscription. The baby Jesus on her right arm is curly blond and naked. Maria wears a white cloak with a brown border and trimmed with red carnations . A red dress forms the undergarment. Maria looks to the left, the blond hair falls from under the crown of the hoop. The left hand of the Madonna originally carried an apple as a symbol of love and is now empty.

In addition to the actual figure, the Madonna's clothing and jewelry have also been preserved. They all date from the 18th century. A golden crown of Mary identifies Johann Friedrich Bräuer from Augsburg as a blacksmith who created the piece of jewelery in 1719. According to the inscription, the Jesus crown comes from "PF Kitzingen 1736". A scepter placed in Mary's left hand came into the church in 1745.

Side altars

Two of the four side altars stand on the sides of the choir and protrude over the arch. They are also called choir side altars. Both came into being around the same time and were founded by Ignatius Brendan, a theology professor from Münsterschwarzach . This also explains the similar structure of both altars. Instead of columns, they simply structure volutes . The entablature of both altars is profiled. A relief surmounted by two vases and a cross replaces the extract image in both.

On the right is the fall of Hell, the altarpiece. The Eye of Providence towers over St. Michael the Archangel . The altar is therefore also called Michael's altar. It was created in 1733. Two angels, seated on the scrolls of the retable, frame the scene. An antependium in the form of the Rococo was later attached below the picture . It shows a guardian angel who guides the lost. The coronation of Mary can be seen in the extract .

The so-called Anne Altar on the left side of the choir was created a few years later and installed there in 1749. The excerpt shows the adoration of the child . The prayers crowd around the Mother of God, who is surrounded by a halo of clouds. Putti with cornucopia frame the scene. The reredos are much darker and show St. Anna teaching Mary . It is of a higher artistic quality than the opposite hell fall. Two male figures frame the altarpiece. In the antependium , surrounded by rich stucco, the visitation can be seen.

Two further altars in the side aisles were probably created in 1694 for the abbey church in Münsterschwarzach. A coat of arms between the altar sheet and the excerpt can be assigned to the abbot Augustin Voit , who commissioned the altars. With the new baroque construction of the Münsterschwarzacher church by Balthasar Neumann , these altars became superfluous and they were brought to Dimbach in 1744.

The frame of the two altars completely dispenses with columns or volutes. A profiled and drilled basic framework surrounds the round altar leaves. A rich fruit hanging with putti serves as an ornament . A cornice bears the abct's coat of arms with crossed crooks and the burning heart. Altar leaves are on the left Joseph and the baby Jesus , on the right the Immaculata . The latter probably comes from the hand of Oswald Onghers .

pulpit

The crucifixion relief of the 11th century

The pulpit in Dimbach is in the nave of the church. It was attached to the first buttress on the left. It goes back to a donation of wood and money, which the Münsterschwarzach abbot Bernhard Reyder made. She came to the church in 1714. The staircase winds around the octagonal column. In medallions you can see reliefs that show the church fathers . This series is continued around the corpus by the evangelists. The body closes off at the top with a cornice.

A crucifix was placed on the pulpit railing. A marbled plate with draperies made of gilded canvas, attached to the column, shows another relief. It is a saint with a chalice. The sound cover is also surrounded by draperies, a cornice forms the end of the pulpit cover. Curly tendrils, bearing a figure of Mary, only rise above it.

Crucifixion relief

The earliest furnishing of the church is the so-called crucifixion relief. It is located below the organ gallery in the west of the church. The relief used to be outside the church, on the north wall of the nave, but was moved inside in the 20th century. Here the piece was initially attached to the south wall. A first renovation then took place in 1964, before the sandstone relief was restored again during the renovation in the 1970s.

The crucifixion relief can be dated to the 11th century, probably around 1070. It thus represents one of the oldest Franconian stone sculptures ever. After the church building did not exist in the 11th century, it was only moved here in the 18th or 19th century. The reliefs were probably created in the Münsterschwarzach monastery and initially also stored there, in the Romanesque Egbert church . An exact assignment of the origin of the piece is difficult to this day.

The relief is 76 cm high and 83 cm wide. Above the actual relief is a rectangular plate with three half- length portraits presented in medallions . A stylized palmette frieze surrounds the crucifixion relief. A crucifixion group is shown. The cross has wide bars. Above is a sign , below a suppedaneum . The cross nimbus is worked as a large disc. The assistant figures of Mary and John can be found below the crossbar. Above you can see medallions of Sol and Luna.

The head of the crucified is sunk on the right shoulder, but he still maintains a frontal posture. The legs are parallel, while his hands lie flat on the beam. A cingulum holds the loincloth. All proportions are compact. The work can therefore be classified as somewhat rough. The crucifixion relief shows remains of paint. The upper garment of the assistant figures was originally made of vermilion , while the undergarment of Johannes shone in oxide green.

Organ and gallery

The organ on the gallery

The organ of the church is on a specially made gallery in the west of the church. Mathias Tretzscher from Kulmbach created a positive in 1665 . Johann Adam Brandenstein built a new organ in 1693, which was donated by the convent of the Schwarzach monastery. The middle section of the prospectus , which is crowned by the coat of arms of Abbot Augustin Voit, dates back to this time . In 1737 the bellows were replaced and a forest flute 2 ′ was installed. In 1859 Balthasar Schlimbach expanded the organ to include the side towers on I / P / 9. Orgelbau Hoffmann reconstructed the instrument in 1980 and added a second manual . The organ has since had 16 stops . Six old registers in the main work have been partially or completely preserved. The disposition is as follows:

I substation C – c ³
1.	Principal	8th'
2.	Octav	4 ′
3.	Quint	2 ² ⁄ ₃  ′
4th	Schwiegel	2 ′
5.	Mixture IV	1 ¹ ⁄ ₃  ′

II Hauptwerk C – f ³
6th	Dumped	8th'
7th	Salicional	8th'
8th.	Principal	4 ′
9.	Pointed flute	4 ′
10.	Octav	2 ′
11.	Forest flute	2 ′
12.	Quint	2 ² ⁄ ₃  ′
13.	Mixture III	1'

Pedal C – d ¹
14th	Sub-bass	16 ′
15th	Octave bass	8th'
16.	trombone	8th'

Coupling : I / II, I / P, II / P

The gallery on which the organ is located was created when the new organ was built. Board balusters form the parapet. Two pillars support the gallery. In 1980 it was thoroughly leached and marbled similar to the other furnishing elements.

Bells

The bell of the church in Dimbach consists of three bronze bells . They all come from the time after the Second World War and were cast in the 1950s by the Otto company from Bremen. The sources are silent about the previous bells, which probably fell victim to being melted down during the war.

Surname	Keynote	Casting year	diameter (in mm)	Weight in kilograms (approx.)	inscription
Marienbell	a ′	1954	929	500	Ave Maria, pray for us, Queen of Peace; Donated in the Marian year 1954 by the community of Dimbach
Wendelinus bell	c ′	1953	770	300	St. Wendelinus, pray for us; Donated by the community of Dimbach in 1953
Bell in honor of St. family	d ′	1954	695	200	Jesus, Mary, Joseph; Donated in 1954 by the community of Dimbach

Further equipment

The stone slab in the tower hall

In addition to the above-mentioned pieces of equipment, there are other works of art in the nave of the Dimbach church.

The ceiling of the church is painted and stuccoed. Almost white rococo stucco surrounds three painted wreaths of rays that surround the monograms of Mary, Jesus and the monastery patron Benedict. A painted coat of arms of Abbot Dominicus Otto rises above the choir arch. The two confessionals in the side aisles date from 1736 . They are decorated with Corinthian pilasters and come from the Münsterschwarzach monastery joinery. The side aisles are simply pictures of a Way of the Cross. They were created in the 18th century.

Also in the west is the picture “Christ and the Samaritan Woman at the Well” donated by Johannes Valentin Gottfried Haimb in 1663 . The foundation is documented by an inscription cartouche . Opposite this is a pole with a baroque Mary in a rosary . She was the procession figure of the Rosary Brotherhood in Dimbach. Figures are attached to the pillars of the central nave: A man of sorrows from the 16th century . A large group of Josephs dates from 1733.

The figure of the May Madonna was also created in the 16th century, probably in the twenties. It was placed on the communion bench during May services and that is how it got its name. The Madonna was originally on the altar and for a time was more venerated than the Madonna of Mercy. It was not until 1776 that it was moved to the last column in the north of the church. A modern version was brought to the figure of Mary.

There is also an inscription on a stone slab in the tower hall. It reads: "ANNO DNI M CCC XXV / RNDVS IN XPO PRO DNS WOLFRAM / EPS HERBIPOLENSIS INPOSVIT / IOHANNI ABBATI IN SWARTZACH / AEDIFICARE HOC TEMPLVM" (German. In the year of the Lord 1325 the venerable Lord in Christo Wolfram, Bishop of Würzburg, ordered to build this temple to Abbot Johann von Schwarzach).

Pilgrimage

The Dimbach pilgrimage is said to have been founded on a wolf miracle : a child from Dimbach, who was stolen by a wolf, was brought back after she had also stolen her baby Jesus from a figure of Mary (today's Madonna of Mercy). Full of gratitude, she puts Jesus back and swaps the arm on which he was resting before. This story appears for the first time in the 13th century with Caesarius von Heisterbach .

In 1511, Johannes Trithemius even moved the pilgrimage back to 1020. In 1684, Father Leopold Wolgemuth described another incident that is said to have triggered the pilgrimage to Dimbach: Bishop Andreas of Würzburg is said to have made a barefoot pilgrimage to Dimbach in 1312/1313 and thus averted an impending famine . A rosary brotherhood had already been founded beforehand to promote the pilgrimage to Dimbach and based on the tradition of Trithemius.

Despite this centuries-old prehistory, a real Dimbach pilgrimage is not known until the early 18th century. However, it was not heavily frequented, but only referred to other Münsterschwarzach monastery villages in the area. It was not until the 1840s that pilgrimages to Dimbach increased. From this decade on one can speak of a real pilgrimage, which was nevertheless regionally limited. With the Enlightenment, however, this decreased again from the nineties of the 18th century.

Pastor in Dimbach (selection)

Since the Marienkirche in Dimbach was never upgraded to a parish church, many different pastors provided the branch in the course of the 20th century. From 1950 the parish from Stadtschwarzach was parceled out and came to Reupelsdorf as a branch. From 1962 Dimbach received pastors from Münsterschwarzach, from 1972 the village came back to Reupelsdorf. Mostly the fathers of the Münsterschwarzach Abbey served here.

Surname	Term of office	Remarks
Marcellinus	1914-1915	OSB
Victorinzeileis	1915-1922	OSB
Patrick Mühlbauer	1922-1923	OSB
Gabriel Schwärzle	1923-1925	OSB
Adalbero Haas	1925-1930	OSB
Maurus Galm	1930-1935	OSB
Theophil Lamb	1935-1936	OSB
Totnan Schömig	1936-1940	OSB
Marold Maier	1940-1944	OSB
Vincent Statzner	1944-1947	OSB
Gabriel Vogt	1947-1949	OSB
Willibald Howler	1949-1950	OSB
Kilian Kraus	1950-1951	OSB
Anton Rauch	1951-1959	Pastor St. Sebastian , Reupelsdorf
Sebald Georg	1959-1961	Pastor St. Sebastian, Reupelsdorf
Raimund Ackermann	1961-1963	OSB
Eberhard Hofbauer	1963-1967	OSB
Rupert miracle	1967-1968	OSB
Kasimir Birk	1968-1971	OSB
Marcus Günther	1972–?	OSB

literature

Hans Bauer: The Kitzinger Land. Valuables, monuments, curiosities. Volume I . Volkach 2004.
Hans Bauer: The Kitzinger Land. Valuables, monuments, curiosities. Volume II . Volkach 2007.
Hans Bauer: District of Kitzingen. An art and culture guide . Market wide 1993.
Wolfgang Brückner : miraculous image and legend. Cult change in Dimbach . Wuerzburg 1978.
Georg Dehio: Handbook of the German art monuments. Bavaria I: Franconia . Berlin and Munich 1999.
Barbara Jaeckle: The pilgrimage church of St. Maria de Rosario in Dimbach. Admission work . Wuerzburg 1975.
Jürgen Julier : Pilgrimage Church Dimbach . In: Schnell Kunstführer No. 1232. Regensburg 1995.
Herbert Meyer: The tower knob certificates from Dimbach . In: Ute Feuerbach (Ed.): Our Main Loop. 1993-2007 . Volkach 2008.
Herbert Meyer: Propstei and pilgrimage in Dimbach . In: Ute Feuerbach (Ed.): Volkach 906-2006 . Volkach 2006.
Susanne Nitschel: The pilgrimage church Maria de Rosario in Dimbach - changes to the building and the importance of the roof for the church . In: Franziskus Büll (Ed.): Magna Gratulatio. 1200 years of Benedictine monastic community from Münsterschwarzach 816–2016 (= Münsterschwarzacher Studien Vol. 55) . Münsterschwarzach 2016. pp. 217–232.
Parish Dimbach (ed.): Festschrift on the occasion of the completion of the restoration of the pilgrimage church "Maria de Rosario" in Dimbach . Münsterschwarzach 1980.
Karl Treutwein : From Abtswind to Zeilitzheim. History, sights, traditions . Volkach 1987.
Thomas Wehner: Real Schematism of the Diocese of Würzburg. Kitzingen Dean's Office . Wuerzburg 1997.
Rudolf Wesenberg : The Dimbach crucifixion relief . In: Gert von der Osten, Georg Kauffmann (ed.): Festschrift for Herbert von Eine on February 16, 1965 . Berlin 1965.

Web links

Commons : St. Maria de Rosario - Collection of images, videos and audio files

Individual evidence

↑ Julier, Jürgen: Pilgrimage Church Dimbach . P. 3.

^ Diocese of Würzburg: Pilgrimage Dimbach , accessed on March 4, 2019.

↑ Brückner, Wolfgang: Image of grace and legend . P. 76.

^ Bauer, Hans: District of Kitzingen . P. 20.

↑ Geodata: Monument number D-6-75-174-176 ( Memento of the original from June 10, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed November 19, 2013. @1@ 2

↑ Julier, Jürgen: Pilgrimage Church Dimbach . P. 7.

^ Dehio, Georg: Handbook of German art monuments . P. 277.

^ ^A ^b Meyer, Herbert: Propstei and pilgrimage in Dimbach . P. 230.

↑ Julier, Jürgen: Pilgrimage Church Dimbach . P. 14.

^ Bauer, Hans: The Kitzinger Land. Volume I . P. 40.

↑ Brückner, Wolfgang: Image of grace and legend . P. 83.

^ Meyer Herbert: Propstei and pilgrimage in Dimbach . P. 231.

↑ While u. a. Hans Bauer mentions this year in the Kitzinger Kulturführer (p. 20), Georg Dehio shifts the time of construction to the eighties of the 17th century. However, this cannot be reconciled with the coat of arms, as Augustin Voit only became abbot in 1691.

^ Treutwein, Karl: From Abtswind to Zeilitzheim . P. 48.

↑ Julier, Jürgen: Pilgrimage Church Dimbach . P. 11.

^ Bauer, Hans: The Kitzinger Land. Volume II . P. 32.

↑ Wesenberg, Rudolf: The Dimbach crucifixion relief . P. 313.

^ Barbara Jaeckle: The pilgrimage church of St. Maria de Rosario in Dimbach. P. 93.

^ Barbara Jaeckle: The pilgrimage church of St. Maria de Rosario in Dimbach. Pp. 97-99.

^ Hermann Fischer , Theodor Wohnhaas : Historical organs in Lower Franconia . Schnell & Steiner, Munich 1981, ISBN 3-7954-0424-X , p. 76 .

^ Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, in particular pages 552, 553 .

↑ Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, especially p. 508 , urn : nbn: nl: ui: 22-2066 / 204770 (dissertation at Radboud Universiteit Nijmegen).

↑ Wehner, Thomas: Real Schematism of the Diocese of Würzburg . P. 141.

↑ Julier, Jürgen: Pilgrimage Church Dimbach . P. 10.

↑ Brückner, Wolfgang: Image of grace and legend . P. 72.

^ Meyer, Herbert: Propstei and pilgrimage in Dimbach . P. 229.

↑ Brückner, Wolfgang: Image of grace and legend . P. 88.

↑ Jaeckle, Barbara: The pilgrimage church of St. Maria de Rosario in Dimbach . P. 63.

^ Parish Dimbach (ed.): Festschrift . P. 70.

49.832065 10.256443Coordinates: 49 ° 49 ′ 55.4 " N , 10 ° 15 ′ 23.2" E

[1] Julier, Jürgen: Pilgrimage Church Dimbach . P. 3.

[2] Diocese of Würzburg: Pilgrimage Dimbach , accessed on March 4, 2019.

[3] Brückner, Wolfgang: Image of grace and legend . P. 76.

[4] Bauer, Hans: District of Kitzingen . P. 20.