City Church (Bad Wimpfen)
The town church in Bad Wimpfen in the district of Heilbronn in northern Baden-Württemberg is a Protestant parish church , the oldest parts of which, the base of the two slender east towers, date from the early 13th century and which received its present appearance mainly through renovations around 1500. Her significant art treasures include two historical winged altars .
location
The church stands on the Eulenberg rising from the Neckar to the Kraichgau , at the highest point in the old town of the main town of Wimpfen am Berg . The Palatinate Wimpfen extends south-east of the church , while the bourgeois settlement is mainly in the south-west of the church. To the north of the church is the Wormser Hof , originally the administrative seat of the diocese and pastor's apartment, the north wall of which is built into the city wall on the steep bank of the Neckar.
history
To the west above the older Wimpfen valley settlement, the Pfalz Wimpfen , a Hohenstaufen royal palace , was built on the Eulenberg in the high Middle Ages . The building site and the surrounding area originally belonged to the diocese of Worms . The church was built immediately west of the Palatinate; the area between the church and the Blue Tower , which is now covered by the Wimpfen town hall, was once the Palatinate's neck ditch and was later filled.
The early history of the church before it was first mentioned in a document in 1234 can only be concluded on the basis of architectural findings. According to archaeological finds, a single-nave church building once stood on the site of the church , extending roughly from the choir to the pulpit pillar of today's church and roughly the width of the current central nave. The church was probably already built with three aisles and extended to the west when it received its two east towers around 1210 during the construction of the neighboring Palatinate. A Roman stone of four gods was walled up in the south tower ; the north tower could once have been a defensive tower due to an elevated external entrance . Simultaneously with the construction of the Palatinate and the church, the neighboring Wormser Hof was built as the administrative seat of the diocese of Worms , in which the respective pastor also had his seat.
Towards the end of the 13th century, the choir between the towers was renewed in the Gothic style. In 1468 a sacristy was added to the south of the choir and south tower , after which the three-aisled nave was enlarged to its present form. The gallery was built in 1489, the west facade from 1491 to 1493, the enclosing walls were completed in 1510, and the arching of the roof began in 1512. Finally, between 1521 and 1523, both towers were raised by one storey each in order to adapt their proportions to the enlarged nave. Anton Pilgram, who was derived from stonemasons or one of his teachers or students, and Bernhard Sporer, who was documented as a master builder from 1510, are considered to be the church's builder around 1500 .
The church was originally consecrated to the Virgin Mary and remained a Catholic church even after the Reformation , before it was assigned to the evangelical community, which now forms the vast majority of the population in Wimpfen, as a town church instead of the smaller Cornelien church located in the valley settlement . The Catholics sued the Reich Chamber of Commerce against this decision in vain .
The town's cemetery was originally located around the church until it was moved in front of the town walls around 1600. The later abandoned hereditary burial of some Wimpfen patrician families remained with the church .
After the heyday of the imperial city at the beginning of the 17th century and especially after the Thirty Years' War , Wimpfen became an agricultural town . As a result, major construction work on the building no longer took place. Rather, the parish was forced to sell parts of its property for economic reasons. 1648 the average bell of the church and the 44 chasubles comprehensive was Kirchenornat sold. A sale of the big bell in 1649 could only be averted for a very short time by funds raised elsewhere, so that the buyer who had already appeared received a reuetaler as compensation.
Around 1870 an economic boom began in Wimpfen due to the saltworks , which had now been developed, and the railway connection to the town. Numerous wall paintings in the church have been renovated. Extensive interior and exterior renovation took place from 1969 to 1972.
description
Towers
The closely spaced, slender east towers, which were originally built for a much smaller building, give the church its architecturally striking appearance. The lower two floors of the early 13th century towers are limestone. They are the oldest parts of the church. The north tower was raised by one storey according to a building inscription in 1521, the south tower according to an inscription on the top cornice in 1523. The base of the towers is 4.25 × 4.25 meters each, their height with roof structures 44.50 meters.
Longhouse
The nave is built as a three-aisled hall church from Heilbronn sandstone ; the three naves have the same height under a common gable roof . The dimensions of the nave are 37.35 × 19 meters. The room height is 11.50 meters, the roof structure is 13.75 meters high. In the eastern part of the long walls there are small side chapels. The main entrance is through the main portal on the western gable side; in front of it is a narrow, vaulted vestibule, in which two iron bands presumably mark the Wimpfen standard. The side portals on the long sides also had small vestibules, but only the one on the south side has been preserved. To the east, the nave opens between the towers to form the narrow choir.
The naves of the nave are each subdivided into six bays , which are covered with Gothic reticulated vaults. The eastern row of yokes on the east gable is very narrow, while the remaining yokes have approximately the same span. The net vault of the central nave is constructed from circles, the yokes of the side aisles are spanned by diamond-shaped net vaults. The keystones show Maria, the imperial eagle , the city coat of arms and various family and craftsman symbols . The naves are separated from each other by two irregular rows of narrow round columns that support the vault. These columns have only a few prominent capitals , and consoles were also dispensed with at the end of the vault , which emphasizes the vastness of the room, which contrasts with the narrow, high choir. On the side of the triumphal arch to the choir, doors in the eastern gable wall of the nave lead to the lower floors of the tower.
A stone gallery has moved in to the west of the nave , the two stone round staircases of which are a structural masterpiece, as they lead upwards without the arch support that is usually required.
Choir and sacristy
The choir is about ten meters deep and about five meters wide. It was created in its current form in the late 13th century and still has Romanesque characteristics on the outside of the tracery , while the same components inside are already designed in the form of Gothic . The choir was built from Heilbronn sandstone. The part of the choir built directly onto the north tower could possibly be a remnant of the older Romanesque choir, as this part is architecturally different from the rest of the choir. The choir with a 5/8 end to the east is spanned by a Gothic cross vault with grooved ribs . The capitals and keystones are partially decorated with foliage .
The sacristy attached to the south of the choir and the south tower corresponds almost exactly to the choir in terms of length, width and ground plan of the 5/8 end; However, it is lower and its inner area is reduced by the area of the southern tower compared to the choir. The ceiling of the sacristy is designed as a reticulated vault.
Furnishing
Altars
High altar
The high altar (Vesper altar) in the choir is a winged altar in the form of a triptych and shows three-quarter sculptural figures in the shrine. A canopy zone with a semicircular shrine end can be seen. The insides of the wings each have two figures in relief , the outsides of the wings being painted. The winged altar is dated 1519 on the shrine and the predella . The work of art was restored at Scheurer in Darmstadt at the end of the 19th century, with overpainting being removed. From 1956 to 1958 it was restored again by W. Hammer in Ulm, the version was greatly expanded. So the angels and instruments of Christ's passion were fixed again in the previously empty canopy zone.
shrine
In the center of the shrine there is a Vesper image (Mary with the lifeless body of the crucified), to which the figures of Saint Barbara (left) and Apollonia (right) are placed. The shrine closes at the top with an attached semicircle. Below there are six small angel figures who carry instruments of suffering ( Arma Christi ) with them in front of a painted starry sky . There are also heraldic shields with the wounds of Christ . There are five mortises on the top of the semicircular arc. Gräf thinks that a crucifixion group could have been there. Due to the bald-looking canopy zone above the group of figures, Gräf assumes "that the retable was designed for a different location."
wing
The semicircular shape of the upper end of the shrine is taken up by the wings. The upper edge of the inside of the altar wing is decorated with ornaments in typical Renaissance shapes. Underneath are relief-like representations of Saints George , Johannes (left), Christophorus and Theobald (right). The outer sides of the wings bear portraits of Pope Urban I and John the Baptist , both inscribed.
Predella
The predella contains a plastic representation of purgatory in a shrine , in which eleven small figures are depicted amidst blazing flames.
Artist
The creator of the high altar is unknown. Schnellbach sees a high degree of correspondence with the Gemmingen monument in Mainz Cathedral, which was created at the same time . He also compares the work with the Scherenberg memorial and sees due to technical details and the like. a. Hans Backoffen as possible creator of the altar.
Böhling compares the face and garment treatment of the relief figures on the left inner wing (Saints Georg and Johannes) with works by Tilman Riemenschneider such as the tombs of R. v. Scherenberg or Abbot Trithemius. The design of the outside of the altar wings shows a similarity to paintings by Matthias Grünewald , but the wings are not attributed to him, but to the Nuremberg School.
Quirinus Altar
The side altar (Quirinus Altar) in the north aisle is a winged altar . It consists of the main shrine, two fixed outer wings, two movable inner wings and the predella . The case is made of spruce wood, the carvings are made of linden wood. The altar dates from 1500, this year can be seen at the bottom of the left inner wing frame. It was in the south side chapel until the church was renovated in 1962. In 1962 the altar was restored by W. Hammer in Ulm, where probably minor additions, such as the flagpole, were made and the older version was exposed.
shrine
The shrine has decorated foliage tendrils in the canopy zone up to the heads of the figures below; the four hollow pillars in the foliage, which divide the shrine into three spatial fields, probably once carried four small figures. In the middle stands Saint Quirinus with a crossed flag and his attribute, the red shield with nine golden balls. He is accompanied by Saint Catherine with a crown, book and sword (left) and Saint Dorothea with a basket of roses and a boy (right). The shrine is 183 centimeters wide, 148 centimeters high and has a depth of 27 centimeters.
wing
The insides of the movable wings bear bas-reliefs with a very high horizon against a gold-damascened background. There are carved leaves above. The carved branches of the tendrils continue the keel arch ornamentation of the shrine. The reliefs on the open insides depict the martyrdoms of Catherine and Quirinus: on the left wing, Catherine is beheaded, the right shows Quirinus' hands and feet being chopped off in front of his daughter Balbina and Pope Alexander I.
On the closed inner wings there are again depictions of Quirinus with a flag and shield (left) as well as of Katharina with a wheel and a martyr's palm (right). Various grisailles can be seen in the canopy above the two figures : two prophets with banners can be seen above Quirinus, with an ape-like being in between. The tapes were labeled at the time, but are empty today. Above Katharina there is a grisaille with the Annunciation in the canopy. In between there is also a banner with Ave Maria, dominus tecum written on it.
With the altar closed, pictures of Stephen (left) and Pope Gregory (right) can be seen on the inactive wings . Usually the outlines of inactive leaves and movable leaves are identical. The Quirinus retable is an exception, since, in contrast to the rectangular shape of the shrine and the inner pair of wings, the inactive wings close with half a keel-arch strip.
Predella
The predella (altar foot) shows depictions of saints, partly as busts in the center of the predella, partly as painting on the outside. The paintings show Gangolf with a staff and spring on the left, Agnes with a lamb on the right . In the center of the predella, three spatially separated niches with foliage-entwined arches were set up, with each of these niches containing a three-dimensional half-figure. Of the three busts, Lucia is shown with a sword through her neck and a book on the left and Mary Magdalene with an ointment pot on the right. The bust of saints in the middle with the two money bags can no longer be clearly assigned, possibly it is Elisabeth.
Predella, painting left: Gangolf
Predella, bust left: Lucia of Syracuse
Predella, painting on the right: Agnes
Artist
The exact identity of the master of the Wimpfen Quirinus altar is not known. After Hartmut Gräf, a master moler from Wimpfen comes into consideration, whose craftsmanship could have resulted in the family name of the Wimpfen family of the same name. Their house brand is on the inside of the left sash, next to the year. It can also be seen in the capital on the left above Catherine on the outside. Or maybe the Molers were just the donors of the altar.
Marie Schuette attributes the work, the sculpture and especially the painting to a workshop that created the figures of the Neudenauer Gangolfs altar . The “similarities of the armor and the dancing poses of the knight saints” speak for this in both places. Even Joseph Sauer writes the work to the same workshop and proves this with the "highly stylized hair braid that falls in uniform spirals wrinkle treatment with the tough breaks an almost unyielding material, the long soft faces". Hartmut Gräf also endorses the same creator and proves this with the "peculiar architectural design: three predellan niches embedded between painted fields and the figure niches in the canopy zone".
More altars
In the southern side chapel there is a simple altar with a Pietà, which was probably made around 1370-1380. The sandstone figure is 69 cm high and has been covered several times, whereby the paint has chipped off in some places. Mary has a slightly helical posture and holds Jesus in her arms. His upper body was shown in a semi-straightened position. The right arm rests on his mother's right knee. The left arm stretched to Mary's forearm seems to have been added later. The figure of Jesus is described as “emaciated, a little too small”.
In front of the choir is a simple, modern altar that is used for church services.
Murals
The church's oldest wall painting is in the sacristy. This painting originally adorned the outer wall of the southern tower facing the cemetery that was once adjacent to the church. This painted wall has been in the interior since the sacristy was added. The scene depicts Mary with the child under a canopy and probably dates from the 14th century.
In the nave there are more wall paintings that are likely to date from the 16th century, but were restored in a restoration around 1870 by the Darmstadt painter August Noack in the style of the time and lost their originality. Around 1970 the frescoes were restored again. The twelve apostles can be seen on the long walls of the nave. Each apostle is given one of the twelve articles of the Apostles' Creed in Latin at his feet . The three meter high apostle figures are each provided with initials, coats of arms or house brands of donors. On the east gable wall of the north aisle there is a 8.25 meter high representation of the Last Judgment , which was also heavily restored in 1870 and painted by Heinrich Vogtherr the Elder around 1524 . He stayed in Wimpfen from 1522 to 1525 in order to decorate the town church with frescoes on Dietrich von Gemmingen's order. The painting of the Annunciation scene on the gallery, which Noack added to include images of the prophets, is so heavily painted over that it cannot be determined whether it is also a work by Vogtherr the Elder. Ä. acts.
Stained glass window
The middle window of the choir contains the oldest glass paintings in the church, which were probably made when the choir was built in the late 13th century. In Wimpfen, u. a. Also in the collegiate church of St. Peter , numerous stained glass from before and around 1300 were preserved until the 19th century, but most of them were then sold and later found in the state museums in Darmstadt and Stuttgart. The stained glass from that time preserved in the central choir window was reassembled during a restoration in 1953. They show various, partly renewed biblical scenes, including the flight into Egypt, the birth of Christ, the adoration of the kings, the baptism of Christ and Samson with the city gates of Gaza.
The stained glass windows of the side chapels were put together from historical stained glass windows in 1869. A crucifixion group and an Anna herself third in a large window in the south side chapel and a whole window in the north chapel with also a crucifixion scene and bishop figures are attributed to the Heidelberg glass painter Hans Konberger and dated from 1496 to 1499. The pane with the Adoration of the Magi in the window of the south chapel is from 1522, the representation of the Madonna and Dorothee in the north chapel, donated by two Wimpfen Rosary Brothers, from 1552.
Glass window in the north side chapel, scene of the crucifixion presumably by Hans Konberger
Stained glass window in the south side chapel, with panes of different ages
Epitaphs
Several historical epitaphs have been preserved in the church . The largest and most ornate is the tomb of Philipp Jakob von Fleckenstein, which shows the colonel, who died in the Battle of Wimpfen in 1622, as a larger than life stone sculpture in armor in front of a case with ancestral coat of arms and was created in the workshop of the Heilbronn sculptor Melchior Schmidt. Other epitaphs in the church include a. the bronze epitaphs of the altarists Johannes Faber and Johannes Bartenbach from 1551 and 1557, respectively, and two ornately painted ones from the 16th century below the gallery, including that of Bartholomäus Barthel († 1574), who was the organist in the parish church. In addition to the epitaphs shown, other historical grave monuments that were once also placed in the church have been preserved in the possession of the parish. The tombs owned by the parish include that of the former mayor Balthasar Eisenmenger († 1595), that of pastor Andreas Wünst around 1600 with monograms and house brands from 64 donors, and those of pastors JG Glockner († 1654) and Christian Winckler († 1747).
Epitaph of Bartholomäus Barthel († 1574)
Epitaph of Johan Schmidlen († 1582)
Epitaph of Zacharias Abicht († 1617)
organ
The organ of the town church was built in 1747 by Johann Adam Ehrlich . Before the organ, decorated in the Rococo style, was placed in its current place on the west gallery, it was on a rood screen in front of the choir, which is no longer preserved . The organ has 23 registers on two manuals and one pedal ; In total it has three works (main work, rear work and pedal work). No changes have been made to the disposition since 1748 .
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- Coupling: II / I, II / P, I / P.
- The organ is tempered with a pitch of 466 Hz according to Kirnberger II .
Other equipment
Inside the church, two paintings from around 1500 are presented.
Choir
The three seat and the sacrament house in the choir date from the late 15th century. The choir stalls, richly decorated with carvings, have Renaissance forms and are possibly still the choir stalls donated by the altarist Johannes Faber († 1551), the epitaph of which is preserved in the north side chapel.
Pulpit and font
The stone pulpit on the middle left round column of the nave dates back to its construction time around 1515 and was made by Bernhard Sporer or one of his assistants, received a baroque sound cover in the 17th century and was painted on the outside with depictions of the evangelists in the 19th century. The font is also from the time the nave was built.
North side chapel
The north side chapel is the former baptistery of the church and has been redesigned as an exhibition area. It presents two paintings, a wooden crucifix and parts of the church treasure .
The painting, which depicts a scene of Jesus laying the cross or nailing the cross, is attributed to a wing of the former high altar of the Bad Wimpfen town church. Gräf thinks that the dimensions speak for it. It is a framed painting, about 100 × 130 cm in size, tempera on wood. In the lower left corner it says K. S. 1516 . A donor's coat of arms, colored red and white, shows a male figure growing out of the crest. In the course of its history, the painting has been greatly shortened at the bottom, at least 5 cm. The left hand of Jesus is nailed to the cross while a nail hole is pre-drilled at the other end of the cross beam. Pliers and nails can be seen on the floor. Soldiers watch the goings on with interest. Johannes, Maria and three complaining women are depicted in the middle distance. A riverside landscape can be seen in the background. The execution of Jesus and the valet as well as the bank landscape in the foreground and background of the painting are compared with works by the contemporary Swabian painter Hans Schäufelein . The group of figures around Maria, Johannes and the women go back to Italian models.
The other painting depicts a baptism of Christ in the style of Dutch or Lower Rhine painting. This painting originally hung in the baptistery. It was created between the 15th and early 16th centuries. The upper area of the panel originally had a gilded black solder drawing with a Gothic vault, but was later painted over with architecture and clouds. The Gothic vault extended over columns into the lower part of the picture. Parts of it still shine through in the area of architecture. In the lower area of the picture two coats of arms are painted, which were also added later. The painting was restored from May 1999 to July 2000 in the restoration workshop of the Baden-Württemberg State Monuments Office .
In the north side chapel there is also an old wooden crucifix, which was made around 1481 by Oswald Bockstorffer from Memmingen and in which the figure of the crucified is provided with a hollow body, movable arms and natural hair. From this execution it is concluded that the figure was once used for Easter performances in which the crucified was removed from the cross and symbolically buried.
The parts of the church treasure also exhibited in the north side chapel include a gold-plated silver chalice with decorative medallions from around 1330 and a corporeal box from 1488 with paintings .
Chalice from the church treasury
Corporation box
Churchyard
Various relics of the former churchyard of the town church have been preserved in today's church square.
Calvary
The so-called Kalvarienberg is a crucifixion group made of sandstone from the early 16th century, which was designed by Hans Backoffen and served as the tomb of the mayor family Koberer. The work of art made of tuff on a sandstone plinth shows, in larger-than-life figures, Jesus on the cross, flanked by two other crucified Christians and weeping by the kneeling Mary Magdalene and the standing Mary. Only the base between the two crosses on the right has survived from a figure of St. John that once also existed and completed the ensemble. A small devil figure is also missing, which was located above the crucified mercenary on the right, while above the full-bearded penitent thief on the left cross there is still a small angel figure that symbolically carries the soul to heaven. The two niches of the base accommodated grave candles. The roof for the heavily weathered group of figures was added to the former ossuary of the churchyard (an old Michael’s chapel). A completely renewed corner post bears the year 1551 as well as the house brands of the Kober and other Wimpfen families.
Grave slabs
Among the historical tombstones preserved in the churchyard, the one by Peter Werrich from around 1400 with the depiction of a lily cross and beam scales is of particular importance. Such a nosed lily cross can mostly only be found on older grave slabs, while the balance beam can generally be found on much younger grave slabs. The balance and the 60.5 cm long Wimpfen cubit , shown next to the cross of the lily, identify Werrich as a shopkeeper and dressmaker. The representation of the cubit is important for the local legal history. Due to the progressive weathering of the sandstone slab, the length dimension shown can no longer be recognized.
Individual evidence
- ↑ Fritz Arens , Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 40f.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, pp. 41-47.
- ^ A b Rudolf Kautzsch : The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 22.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 53 ff.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 40 u. 50.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 41.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 42 ff.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 40 ff.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 44 ff.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 47.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 41 ff.
- ↑ Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . Städtische Museen Heilbronn, Heilbronn 1983, pp. 30–33
- ↑ Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . City Museums Heilbronn, Heilbronn 1983, p. 31
- ↑ Arens / Bührlen write Leopoldus, Kautzsch writes Theobaldus, Gräf describes the figure as "Deopoldus (Theobald, Diepold, 1033-1066), a bishop".
- ↑ Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . Städtische Museen Heilbronn, Heilbronn 1983, p. 32 and Rudolf Schnellbach: Late Gothic sculpture in the lower Neckar area , Heidelberg 1931, p. 103 ff.
- ^ Luise Böhling: The late Gothic sculpture in the Württemberg Neckar region , Reutlingen 1932, p. 57ff.
- ^ Central Institute for Art History Munich (ed.): Reallexikon zur deutschen Kunstgeschichte. Volume 9, Munich 2003, ISBN 3-406-14009-2 , Sp. 1507.
- ↑ In addition to H. Gräf, this also means Julius Fekete: Art and cultural monuments in the city and district of Heilbronn . 2nd edition Theiss, Stuttgart 2002, ISBN 3-8062-1662-2 , p. 105.
- ↑ a b Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . City Museums Heilbronn, Heilbronn 1983, p. 28.
- ^ Marie Schuette: The Swabian Carved Altar , Strasbourg 1907, p. 239.
- ↑ Joseph Sauer: The Gangolf Chapel in Neudenau . In: Freiburg Diocesan Archives , New Series 40, 1940, p. 65.
- ↑ Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . City Museums Heilbronn, Heilbronn 1983, p. 117.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 49.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 47.
- ^ Frank Muller : Heinrich Vogtherr the Elder (1490–1556). Aspects of his life and work. Dillingen 1990, p. 184.
- ↑ a b c d Fritz Arens, Reinhold Bührlen: Wimpfen - history and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 48 ff.
- ^ Frank Muller: Heinrich Vogtherr the Elder (1490–1556). Aspects of his life and work. Dillingen 1990, pp. 183-184.
- ↑ Fritz Arens, Reinhold Bührlen: Wimpfen - History and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991, p. 53.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 54f.
- ^ A b Association for the Promotion of Organs and Organ Music Bad Wimpfen , accessed on December 27, 2009.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 52.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 55.
- ↑ Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . City Museums Heilbronn, Heilbronn 1983 p. 118.
- ↑ In addition to H. Gräf, this also means Julius Fekete: Art and cultural monuments in the city and district of Heilbronn . 2nd Edition. Theiss, Stuttgart 2002, ISBN 3-8062-1662-2 , p. 105
- ^ Claudia Luckenbach: The Johannestafel in the town church Bad Wimpfen. Report on the restoration . In: Monument Preservation in Baden-Württemberg 1/2002 , pp. 5–12.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, p. 53ff.
- ^ Rudolf Kautzsch: The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923, pp. 57-59.
- ^ Friedrich Karl Azzola : Grave slabs of the late Middle Ages in Wimpfen am Berg. In: Regia Wimpina. Contributions to the history of Wimpfen. Volume 7. Association "Alt Wimpfen", Bad Wimpfen 1995, p. 30ff.
literature
- Fritz Arens , Reinhold Bührlen: Wimpfen - history and art monuments. Association Alt Wimpfen, Bad Wimpfen 1991
- Rudolf Kautzsch : The art monuments in Wimpfen am Neckar , Bad Wimpfen 1923
- Hartmut Gräf: Unterländer Altars 1350–1540. An inventory . Städtische Museen Heilbronn, Heilbronn 1983 ( Heilbronner Museumsheft . No. 2)
With chapters on the high and side altar of the city church. - Friedrich Karl Azzola: Grave slabs of the late Middle Ages in Wimpfen am Berg. In: Regia Wimpina. Contributions to the history of Wimpfen. Volume 7. Association "Alt Wimpfen", Bad Wimpfen 1995
- Ulrich Knapp: Evangelical City Church Bad Wimpfen Schnell & Steiner, Regensburg 2006, ISBN 978-3-7954-6600-8
Web links
- Information about the organ on the website of the Association for the Promotion of Organs and Organ Music Bad Wimpfen
- Official website of the parish
Coordinates: 49 ° 13 ′ 51 ″ N , 9 ° 9 ′ 42.5 ″ E