Collegiate Church of St. Cyriakus (Gernrode)
The collegiate church of St. Cyriakus in Gernrode ( Harz district , Saxony-Anhalt ) is one of the most important Ottonian architectural monuments in Germany . The church, which was mentioned for the first time in 961, is largely back to the condition of the 10th century due to the restorations in the 19th century; only the western apse was added around 1130. The church was the collegiate church of the Frauenstift Gernrode founded by Margrave Gero , which was headed by abbesses from the noble families of the region until it was dissolved in 1616 . The church became Protestant in 1521, when Abbess Elisabeth von Weida joined the Reformation and her monastery was secularized , making it one of the first Protestant churches in the world. Since the restoration, the Evangelical parish of Gernrode has used it as a parish church .
Building history
Foundation and foundation construction
The Frauenstift Gernrode was founded in 959 by Margrave Gero based on the model of the noble convent Santa Ciriaco near Santa Maria in Via Lata in Rome. Gero had long been one of the most important pillars of the reign of Emperor Otto I and was wealthy. Gernrode Castle, which was chosen as the seat of the monastery, was one of Gero's headquarters. The founding of the monastery was due to the fact that Gero's family line 959 was expected to die out: his son Siegfried, who is considered to be the co-founder of the monastery, died childless that year, probably after a long illness. Gero's younger son of the same name probably died as a deacon before his brother Siegfried. The foundation of a religious women's community should serve the salvation of Geros and his sons through constant prayer ( memoria ). Siegfried's widow Hathui was appointed Gernrode's first abbess by Gero. The monastery in Frose , which Gero had founded in 950, was converted into a women's monastery and placed under the re-establishment. The abundant equipment of the monastery with goods, Gero's political importance and also the Hathuis, which was very likely a niece of Queen Mathilde , made the new establishment one of the most respected women 's monasteries in the empire, comparable to the monasteries at Gandersheim , Quedlinburg , which were run by relatives of the Ottonian ruling family and food . As early as 961, Otto I gave the newly founded monastery the status of an imperial monastery .
The construction of the church probably began in the year the monastery was founded. The church was probably first dedicated to the cartridges Maria and Peter . However, after she had received an arm relic of Saint Cyriacus , which Gero had probably already acquired in Rome in 950 for the Frose Abbey, this saint became patron saint of the monastery and the church. When Geros died in 965, the building was so far completed that it could be buried in the prominent place, namely in the crossing .
The foundation structure can largely be reconstructed using the existing building fabric. It was a short three-aisled basilica with alternating pillars . The aisles had galleries . St. Cyriakus is thus a gallery basilica , a form originating from Byzantium , which was first realized here north of the Alps. A transept was connected to the nave in the east and formed a crossing with the central nave. To the east of the transept were side apses on the transept arms and a choir with an apse. Under the choir area there was a short three-aisled hall crypt with access through two side tunnels. There was a confessio in the west wall of the crypt . The building had a westwork consisting of a square central tower, which was flanked to the west by two round stair towers. To the east, the central tower was accompanied by square flanks. A gallery in the westwork and in the flanking rooms connected to the galleries in the side aisles.
Even today it can be seen from the floor plan of the church that the central axes of the westwork, nave and east section have been shifted. This is attributed to the fact that first the east part was built, then the westwork and only last the nave, in the place of which there was presumably a provisional church that prevented the evacuation . The structure of the church points to an overall construction plan, as it is designed around the short nave, which only comprises two double bays . The double arcades on the ground floor correspond to three double arcades on the galleries, each one covered by an arch. The division of the ground floor into two parts is continued in the mezzanine by a central pillar. The columns of the nave have masked capitals derived from Corinthian capitals. The faces emerging from the foliage of the capitals are remarkable. The columns of the nave arcades have no capitals, the fighters sit directly on the shaft rings of the columns.
Extension to the double choir
In the 12th century, the church was partially redesigned considerably. The most striking thing about it was the extension of the westwork. The straight west wall, which had completed the construction of the foundations, was omitted due to the construction of the west choir with west apse and the three-aisled west crypt below. The western apse and crypt were used to worship Saint Metronus , who became the second patron of the monastery next to Cyriacus. The stair towers of the westwork were raised. This elevation can be recognized by the fact that two more undecorated storeys were added to the storeys of the pair of towers , which are distinguished by their finely divided blinds . In addition, the top floor of the tower with the coupled window openings was not built until the 12th century. In addition, the beginnings of pieces of cornice could be demonstrated at the level of the lower sill of the two upper floors, which are marked by blinds. During the renovation, the galleries of the aisles were also omitted, presumably because the walls of the aisles were renewed. The transept arms received galleries and were opened to the crossing, so that a continuous transept was created. The holy grave in the middle of the south aisle has been renewed. In addition, the wing of the cloister adjoining the church was built in its two-story form, which still exists today.
Later construction history up to the restoration
In the late Gothic period, a treasury was built into the north arm of the transept . With the abolition of the monastery in 1616, the church began to decline. The monastery buildings, which were almost completely preserved in the 18th century, were demolished in the 19th century. The church itself served as a farm building. The windows were partially walled up, the apses were separated from the rest of the church by walls and were given access from the outside. During this time the crypts were used to store potatoes, the nave gallery as a granary and cattle were housed in the cloister.
It was not until 1834 that the art historian Franz Theodor Kugler drew attention to the run-down building. As a medieval building, the "newly discovered" church was noticed in the age of historicism . The art historian Ludwig Puttrich persuaded Duke Leopold Friedrich von Anhalt-Dessau to prevent further deterioration and to initiate restoration.
Restoration by Ferdinand von Quast
A recognized expert in the still new discipline of monument preservation, the Prussian "conservator of monuments" Ferdinand von Quast , was commissioned with the restoration of the collegiate church . He first examined the existing building fabric. His notes make it possible to distinguish between the parts of the original building and the Romanesque reconstruction that were still present in 1858. During the restoration from 1858 to 1866, Ferdinand von Quast largely preserved the original designs. The galleries of the nave were reopened, the openings in the outer walls of the apses were closed again and the apses opened again towards the church.
Quast only designed the painting of the church according to his own ideas. The colorful frescoes on the east and west apses are based on Romanesque wall paintings, but give a good impression of the (rarely preserved) color effect of Romanesque churches.
His plans to rebuild the monastery chapel and to raise the towers of the western building in order to adapt the complex to an idealized image of the Middle Ages were not implemented. The design of the church by von Quast, like the church itself, has the status of a monument.
Later construction work
Between 1907 and 1909 the north and in 1910 the south stair tower of the westwork was completely renewed, as evidenced by two stone tablets embedded in the masonry. The exterior of the church is largely as it was built in 1130, the most striking exception being the roof turret over the crossing, which von Quast added in accordance with his ideas of an idealized Middle Ages. The approach of Quasts is not without controversy according to today's monument preservation ideas, since since Georg Dehio conservation has priority over restoration in monument preservation.
Since the renovation of the towers, the church has only been used for conservation purposes. The building is particularly threatened by rising damp. This carries salts, which got into the ground with the urine of the cattle during the use of the monastery grounds as an agricultural domain , into the masonry. Another threat is the climatic stress on the church due to heating and increased visitors, which is particularly noticeable through the condensation of water on the painting of tassels and on the wooden ceiling beams.
History of use and current use
From the foundation of the first church building until its dissolution in 1616, St. Cyriakus was the collegiate church of the women's monastery founded by Gero and the center of the monastery life. It was neither a parish nor a bishop's church, but mainly served the members of the women's monastery. Their position was therefore comparable to a monastery church, even if the Gernrode monastery probably did not follow the Benedictine monastery rule, but the Institutio sanctimonialium , the canonical way of life for women's communities established by the Aachen Imperial Synod in 816 , as it was in the Essen , Gandersheim , Quedlinburg or Elten were applied. In the church, the prayers of the hours and masses of the monastery community took place, as well as the prayers for the deceased members of the monastery, the noble patrons of the monastery and their ancestors as part of the organized commemoration of the dead.
Since the abbess Elisabeth von Weida joined Martin Luther's evangelical teaching as early as 1521 , the collegiate church became one of the first evangelical churches in the world. The women's foundation was Evangelical-Lutheran from 1521 until it was dissolved, after which the church temporarily served a Reformed congregation. Only this removed the medieval furnishings. Later it was profaned and the church served, among other things, as a granary. Since the restoration, the collegiate church has been the parish church of the Evangelical parish of St. Cyriakus Gernrode, a parish of the Evangelical Church of Anhalt . In addition to church services, it is also used for concerts, among other things the Easter play of the collegiate liturgy is performed every year at Easter.
The church has been a listed building since 1960 and is now part of the Romanesque Road .
Excursus: Liturgical use around 1500
Everyday and on ordinary Sundays
The collegiate church was a procession church around 1500 , the various altars and locations were visited and included according to the church year . The daily main mass was performed by a canon canon at the main altar in the east choir, while the canon ladies were in their pews on the south transept gallery. There was no visual contact between what was happening at the high altar and the women, except for the singing master , who had her place on the gallery next to the crossing pillar. On the gallery, the ladies also performed the usual divine prayers, Vespers and Vigil . The Michael altar on this gallery had no relation to this choral service of the collegiate chapter. Measurements were not carried out on him in the presence of the ladies. On ordinary Sundays, a procession of the canonesses took place before the main mass, which took place through the cloister, where there was a statio in the Lady Chapel on the cloister. From there the convent moved into the church through the western connecting door of the church to the cloister, through the central nave with the graves of the abbesses and geros and over the choir stairs to the gallery.
On holidays
On special feast days the liturgical process was far more colorful and individual. For each holiday it was precisely regulated which group performed which action and when. The procedure on Palm Sunday is an example of this . At the prim , the canons were in the high choir, the canons on the south transept gallery. After the prim, the canons rose from their seats and marched in procession down the choir stairs into the nave. There they met the procession of the canonesses who had left their gallery via the choir stairs and who now followed the canons in front of the entrance to the Holy Sepulcher. There the canonesses stood facing east and sang an antiphon while the clergy entered the Holy Sepulcher. There they picked up the gem cross with the thorn relic and carried it out. The clergy went with the cross to the cross altar and set it up there. After the end of the antiphon, the ladies also went to the cross altar, where canons and canons sang a hymn together. After this, the women's convention moved back to the gallery to sing the third . After the third, the palm branches were consecrated in front of the barrier of the main choir and distributed by the deacon to the canons and canons. The women procured with the branches through the western door into the cloister, through this cloister and back into the church in front of the cross altar, to which the canons had meanwhile also gone. A hymn followed, then first the ladies, then the canons and finally the Hebdomadar in front of the cross went to worship in Proskynese . Afterwards, Hebdomadar and deacon carried the cross from the cross altar to the choir screen in front of which it was placed. All groups then went to their stalls to attend the main mass. After Vespers, the canons gathered in the stalls of the Catherine Altar, the canons on the bench at the Cyriacus image to the west of it. The singing master sang an antiphon while the entry of Jesus into Jerusalem was depicted by a deacon and a sub-deacon pulling a wooden Palm Sunday donkey from the western part of the church through the nave to St. Peter's altar under the canons' gallery. Then the pin ladies and the canons went to their usual bases, for Compline . This was followed by the night's rest.
Furnishing
Only a few remnants of the rich furnishings of the Ottonian building have survived, as these were removed by the Reformed in 1616 when the monastery was dissolved. The simple equipment of the Reformed is also no longer available. Today's furnishings are essentially historical and were created after the restoration. Only a few grave slabs from abbess graves have survived over time, the Tumba, newly created in 1519 by the founder of the monastery, Gero, and the holy grave.
Liturgical institution around 1500
A breviary from the late 15th century and a processional from 1502 have been preserved from the abbey library . The liturgical situation in the Gernrode Abbey around 1500 can be reconstructed from these writings and building observations.
Around 1500 the collegiate church had numerous altars , some of which are known and some of which have been identified from sources:
- The main altar, dedicated to St. Cyriakus, with the shrine of the Cyriakus relic stood in the eastern apse. To the north of it stood the tabernacle , in front of it the stalls of the canons , which were separated from the rest of the church by a barrier .
- The east crypt contained an altar of the 11,000 virgins of the Ursula legend . The veneration of these saints in Gernrode is likely to be due either to Geros 'contact with Archbishop Brun or to Geros' relationship with Archbishop Gero of Cologne .
- In the crossing was the donor's grave, which presumably participated in the salvific effect of the relic kept in the Confessio through an opening to the crypt . Around 1500 this relic was on the main altar, so that the Fenestella and the Confessio were walled up.
- In the north transept there was an altar of Mary at the bottom, and there was also an altar on the upper floor, as there is evidence of a piscina . To the west of the unknown altar was the treasury, which also served as a sacristy .
- The altar of St. Peter stood on the lower floor of the south transept. On the gallery above there was a Michael altar , in front of which the main stalls of the canons were.
- In the triumphal arch between the crossing and the nave there was a cross altar. Above this, the existence of a triumphal cross could be proven through construction observation . In front of the triumphal arch was the burial place of the abbesses, with the grave of Hathuis in the middle of the first row in front of the cross altar.
- In the central nave there was also an All Saints Altar , which had its own altar stalls and was probably separated from the church by barriers. There was still enough space in front of the west side of the stalls to access the west crypt through the centrally arranged staircase.
- The altar of Metronus was in the west choir. In the crypt under the west choir there was probably the reliquary of this saint, possibly also another altar.
- In the north aisle, at the east end, there was the altar of St. Catherine with its own stalls, further to the west there was a picture of St. Cyriacus.
- In the south aisle was the Holy Sepulcher with the symbolic sarcophagus of Christ. In the eastern antechamber of the Holy Sepulcher there was an altar of St. Aegidius , in front of the western face of the Holy Sepulcher there was an altar of St. John the Evangelist , who also had his own pews.
The holy grave
The holy grave is in the south aisle. Its exact date is disputed. In any case, it is certain that it was already there during the Romanesque reconstruction of the church, so it is the oldest surviving holy grave in Germany. The Holy Sepulcher played an important role in the Gernroder Stifts liturgy during Easter. As part of liturgical Easter games that could be reconstructed for Gernrode from a received handwriting, but also from other women's pins like food are known, was born on Good Friday of taken down from the cross body in the sarcophagus placed the Holy Sepulcher. In the resurrection of the liturgy Easter Sunday he was again solemnly brought out of it and shown to the faithful present.
The tomb consists of an open anteroom and the actual burial chamber. The vestibule is accessible from the nave of the church through a small door, the burial chamber can only be reached via this vestibule. However, this condition was not the original.
The entire relief decoration of the Holy Sepulcher relates to the theme of Entombment and Resurrection . Here, for the first time in Germany, a work of monumental sculpture was erected based on models from Byzantine cabaret, such as book covers and ivory boxes. As with the Byzantine models, the figures are surrounded by tendrils. Quietly, cautiously, with individual physiognomy and delicate movement, these figures proclaim the sacred events.
The west wall shows strikingly rich plastic jewelry; in literature it is therefore often called a "sermon in stone". The center of the designed wall is occupied by the stucco panel with a standing female figure. This figure was previously interpreted as the founder; today we can rightly recognize Mary Magdalene standing in front of the grave in her . Finally, a wide surrounding frame band delimits the middle group. This ribbon is divided into an outer vine tendril with grapes that emerge from snakeheads and an inner tendril, which forms large loops into which human and animal figures are woven. In the middle of the upper tendril stands the Lamb of God ( sacrificial death ), in the upper left corner John the Baptist and in the upper right corner Moses , both forerunners, pioneers for Christ, they point to the Lamb of God. A lion on each side of the two Old Testament figures. The lion is a good animal here, an indication is given by his domination, he eats from the grapes. The bird with the nimbus will be seen as a phoenix , the recurring symbol for the resurrection. The bird on the other side of the lamb is an eagle . He, too, is a symbol of Christ because, according to the old opinion, he flies the highest of all birds and can look into the sun (parable for the ascension of Christ). The other picture elements can also be symbolically assigned to the general theme in this way.
The pictorial theology of this western wall is divided into an upper and a lower zone; the lower one is reserved for earthly beings, for mortals, who can easily fall into sin. Opposite it is the area of redemption in the upper zone, in the center of which the apocalyptic lamb appears; the other symbols indicate the basic facts of Christian teaching: sacrificial death, resurrection and ascension.
The north wall shows a figure of Christ to the right of the column and Mary Magdalene to the right. Both figures together form a so-called Noli-me-tangere group. “ Noli me tangere ” translates as “Don't touch me”. What is meant in the iconography of religious art history is a representation of the risen Christ, who, according to John 20: 14-18 EU, appears to Mary Magdalene as a gardener and with repulsive arm movements refuses to be touched by her. The soft, restrained forms indicate that one is still committed to the art of the 11th century, the solidification of the later years of the Romanesque is not yet known.
The opening in the wall to the nave made an impact source that the curative effect of salvaged in the Holy grave relic , one in a crux gemmata incorporated mandrel of the crown of thorns was Christ, radiate to the front buried in the nave abbesses. An oculus in the outer wall of the church allowed a corresponding radiation into the cloister, where the other dignitaries of the monastery were buried.
Tomb of the Margrave Gero
The high grave for Margrave Gero, venerated as the founder, was built in 1519 in the crossing of the collegiate church. It was a joint foundation of the Abbess Elisabeth von Weida and the provostess Ursula von Kittlitz , the coat of arms of both is depicted on the sides of the tumba. It is made of sandstone and measures 94 centimeters in height, 99 centimeters in width and 212 centimeters in length.
On the side surfaces there are several figures standing on the base. On the north side these are Andreas , Mathias , John the Baptist and Peter . The south side shows figures of Saints Antonius and Hedwig (the figure is holding a model of the church - possibly the first abbess of the Hathui Monastery (Hedwig) should be represented here), alongside figures of Maria , Elisabeth of Thuringia and Onofrius . The two narrow sides only offer space for two figures each. On the west side, Cyriacus and Metronus are depicted, the pen cartridges, on the east side are the apostles Philip and Thomas .
In contrast to the reclining figure on the lid of the Tumba, the figures on the sides do not have a high artistic quality. The cover plate shows the margrave in high relief in armor from the beginning of the 16th century. He holds a sword in his right hand and a flag in his left. The feet are supported by a lion holding a shield . The figure may have come from Tilman Riemenschneider's workshop .
The tomb was opened in 1865 during the renovation of the collegiate church. The bones of a man 1.84 meters long were found in it.
Panel painting of the Margrave Gero
On the south pore of the transept there is a panel of Margrave Gero, which was created at the beginning of the 16th century. In the picture, a man in a short red tunic with a belt can be seen from the front , standing on a flat hexagonal base on which a dog is also lying. In his left hand the bearded man is carrying an executioner's sword with a shield with a painted eagle hanging over its crossguard . With the raised right hand he grips a lance with a pennant on which a striding lion can be seen. The numerous edging of the robe in the style of the 10th century, framed with precious stones, testify to the fact that it is a high-ranking personality. The inscription GERO DVX ET MARIHIO FVNDATOR HVIVS EΓΓLFSIE SAXOIIṼ (Gero dux et marchio fundator huius ecclesiae saxonum) identifies the person pictured as Margrave Gero, the founder of the church.
The painterly quality of the painting is low. In terms of art history, the panel painting is important for the history of early German sculpture. In research it is considered certain that the artist of the 16th century resorted to a much older model, possibly the contemporary grave slab, from which the incorrect inscription was also taken. If this assumption is correct, this panel painting would be the depiction of a grave sculpture that no longer exists in the original, which would be one of the earliest verifiable in the German-speaking area.
Grave slabs
The abbesses of the monastery were buried in front of the cross altar until the 16th century. The grave sites were presumably brick shafts that received the wooden or lead coffins and were closed with grave slabs set into the church floor. The grave slabs were marked with inscriptions, from 1324 also with a representation of the deceased. During a church repair in 1830/31, these grave slabs were processed into the steps leading up to the east choir, except for two. Some of the labels can still be recognized. The two slabs that Quast still found were the double grave slab of the abbesses Adelheid von Walde and Bertradis von Snaudit, which was moved to the southern side apse in 1912, and the grave slab of Elisabeth von Weida, which was erected upright in front of the northern Epistelambo in 1924 .
Baptismal font
A Romanesque font , which was made around 1150, is in the western central nave. It was not part of the furnishings of the collegiate church, but comes from the demolished church of Alsleben and was brought to Gernrode by von Quast in 1865 as part of the refurbishment. The eight-sided baptismal font is worked deep into the sandstone and is 93 centimeters high and 120 centimeters in diameter. On the arched niches on the outside it is equipped with figural reliefs depicting the life of Christ, the crucifixion and the Salvator Mundi in two groups of three, as well as one relief each of the Ascension and the birth of Christ. However, the implementation of the representation was only done with limited artistic ability, for example the proportions of the figures are not correct. The stone was worked around 1150. The base of the baptismal font is a work of the 19th century.
Historic furnishings
Quast had the church equipped with new glass windows and painted with large-scale wall paintings. When choosing the colors red, gold and blue, he was guided by remains of frescoes from the 13th century, which he found under a thick layer of plaster in the east apse. In order to make the church usable again as a place of worship, it also needed an organ . Von Quast had the organ shared in order not to obstruct the view of the western apse with the mural of the Last Judgment he had designed. Manuals and pedals as well as bellows are separated and connected purely mechanically. The organ has been renewed several times, most recently in 1981 when a work by the Schuster company (27 registers on two manuals ) was installed.
organ
The organ was built in 1981 by the organ builder Schuster (Zittau). The slider chests -instrument has 27 registers on two manuals and pedal . The playing and stop actions are mechanical.
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- Coupling (No. 8, 18.30): II / I, I / P, II / P.
Bells
There are three bells hanging in the tower of the collegiate church . The oldest bell is the Barbarossa bell. Their origin is not clear. It is sometimes assumed that it was cast on the occasion of a visit by Emperor Barbarossa in 1188; others assume that it is a bell from St. Stephen's Church. The bell with the strike note f 1 was transported to the Hamburg bell warehouse for armament purposes at the beginning of the Second World War and was returned intact from the Ilsenburg Hirsch-Kupfer-Werke to the collegiate church after the war.
literature
- Otto von Heinemann : History of the abbey and description of the collegiate church at Gernrode. Quedlinburg 1877 ( Scan - Internet Archive ).
- Hans K. Schulze: The Gernrode monastery (= Central German research. Volume 38). Using a manuscript by Reinhold Specht. With an art history contribution about the collegiate church by Günter W. Vorbrodt. Böhlau, Cologne / Graz 1965, DNB 454519524 .
- Klaus Voigtländer: The collegiate church of Gernrode and its restoration 1858–1872. With contributions by Hans Berger and Edgar Lehmann . Edited by the Institute for Monument Preservation. 2., through Edition. Akademie-Verlag, Berlin 1982, DNB 830437568 .
- Ulrich Knapp: Ottonian architecture. Reflections on a history of architecture during the rule of the Ottonians. In: Klaus Gereon Beuckers , Johannes Cramer, Michael Imhof (eds.): Die Ottonen. Art - architecture - history. Michael Imhof Verlag, Petersberg 2002, ISBN 3-932526-91-0 .
- German Foundation for Monument Protection (Ed.): Monument Edition - Romanesque in Saxony-Anhalt. Monuments publications, Bonn 2002, ISBN 3-935208-05-7 .
- Werner Jacobsen: The collegiate church of Gernrode and its liturgical furnishings. In: Essen and the Saxon women's pencils in the early Middle Ages. Klartext Verlag, Essen 2003, ISBN 3-89861-238-4 .
- Nicole Schröter: The holy grave of St. Cyriacus zu Gernrode - expression of the piety of the Gernröder canons in Jerusalem (= sources and research on the history of Saxony-Anhalt. Volume 11). Mitteldeutscher Verlag, Halle (Saale) 2017, ISBN 978-3-95462-774-5 (Master's thesis, Justus Liebig University Gießen , 2014/15).
Web links
- Search for Stiftskirche St. Cyriakus (Gernrode) in the German Digital Library
- Search for Stiftskirche Gernrode in the SPK digital portal of the Prussian Cultural Heritage Foundation
- Pages on the Gernrode monastery including the church at the University of Göttingen
- Pages of the Evangelical Parish Office Gernrode (current users)
Individual evidence
- ^ Georg Dehio : Church architecture of the occident. 1901.
- ↑ Robert Suckale : The medieval image as a contemporary witness. Six studies. Lukas, Berlin 2002, ISBN 3-931836-70-3 , p. 22, urn : nbn: de: 101: 1-2014090510033 .
- ^ A b Jacobsen: The collegiate church of Gernrode and its liturgical equipment. P. 222.
- ↑ SchleierHaft? Medieval life in the women's monastery in Gernrode. In: uni-goettingen.de , accessed on August 31, 2017.
- ^ Knapp: Ottonian architecture. P. 236.
- ^ Jacobsen: The collegiate church of Gernrode. P. 226.
- ^ Jacobsen: The collegiate church of Gernrode. P. 223.
- ^ Knapp: Ottonian architecture. P. 237 f.
- ^ Jacobsen: The collegiate church of Gernrode. P. 226 f.
- ^ Jacobsen: The collegiate church of Gernrode. P. 235 ff.
- ^ Jacobsen: The collegiate church of Gernrode. P. 227.
- ↑ a b Jacobsen: The collegiate church of Gernrode. P. 229 f.
- ↑ If you want to analyze the symbolic meaning of animal representations of the Middle Ages, it is always advisable to consult the Physiologus . The Physiologus was created around the time AD 200 and is a key work on animal symbolism in its effect on the visual arts. According to this physiologus, this phoenix bird burns itself and awakens to new life after three days.
- ^ Rainer Budde: German Romanesque sculpture 1050-1250. Recordings by Albert Hirmer and Irmgard Ernstmeier-Hirmer. Hirmer, Munich 1979, ISBN 3-7774-3090-0 , figs. 44–51.
- ^ Jacobsen: The collegiate church of Gernrode. P. 234 f.
- ↑ a b August Fink : The figural grave sculpture in Saxony from the beginning to the second half of the thirteenth century. Inaugural dissertation. Friedrich-Wilhelms-Universität zu Berlin , February 24, 1915, pp. 50–52, online in: kaiserdom-koenigslutter.info , accessed on August 31, 2017.
- ↑ Information on the organ. In: stiftskirche-gernrode.de. Website of the Evangelical Congregation, accessed on August 31, 2017.
- ↑ Bernd Sternal: The Barbarossa bell. In: ausflugsziel-harz.de, 2009, accessed on June 24, 2020.
Coordinates: 51 ° 43 '27.3 " N , 11 ° 8' 9.5" E