Theatinerkirche (Munich)

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St. Kajetan
Theatine Church

MunichTheatinerkirche a.jpg

Denomination : Roman Catholic
Patronage : Kajetan von Thiene and Adelheid von Burgund
Consecration date : 11.6 1675
Rank: former court and collegiate church, religious order
Order : Dominican
Address: Theatinerstr. 22, 80333 Munich

Coordinates: 48 ° 8 ′ 31.6 ″  N , 11 ° 34 ′ 35.3 ″  E

Theatine church and monastery around 1700, engraving by Michael Wening

The Catholic Church of St. Kajetan and Adelheid in Munich , called Theatinerkirche , was court and monastery church of the Theatine order until 1801 , from 1839 court and collegiate monastery and has been cared for by the Dominican order since 1954 . It is the first church in old Bavaria to be built in the style of Italian high baroque . The church building at Theatinerstraße  22 is located in the northeast of the Kreuzviertel at the Feldherrnhalle and is now part of the Odeonsplatz ensemble . The mother church of the Theatine order Sant'Andrea della Valle in Rome was an important model. The church then became a model for other church buildings and stands at the beginning of the Italian-inspired high baroque in Bavaria.

History and architecture

Theatine Church (1953)


Theatine Church on Odeonsplatz (2008)

In 1659 Henriette Adelheid von Savoyen , wife of Elector Ferdinand Maria , made the vow to have the "most beautiful and most valuable church" built in gratitude for the birth of a hereditary prince . This was to become the court church and collegiate church for the Theatines .

After the electoral prince and later elector Max II. Emanuel was born on July 11, 1662, Agostino Barelli from Bologna received the design contract. The north-east corner of the Kreuzviertel right next to the city wall and Schwabinger Tor , which is opposite the residence, was chosen as the building site for the church and monastery . The foundation stone was laid on April 29, 1663.

Building history

Barelli took the mother church of the Theatines, Sant'Andrea della Valle , in Rome as a model . In terms of room type, the church was designed as a domed basilica over a Latin cross. A nave rises above this floor plan in five bays, barrel-vaulted, with domed side chapels, the short transepts are flat, the choir, on the other hand, in a semicircle; the high drum dome arches over the crossing.

During the structural work there were violent arguments between Barelli and his site manager Antonio Spinelli , himself Theatin and confessor of Henriettes, which led to Barelli's temporary dismissal. Finally Agostino Barelli completed the shell and then left Munich.

Then Enrico Zuccalli took over the artistic direction. The focus of his activity was the exterior design. Zuccalli determined the shape of the 71 m high drum dome and later also the two very idiosyncratic 65 m high towers. The snails under the spiers are inspired by the dome of Santa Maria della Salute in Venice. The main nave has a length of 72.50 m, a width of 15.50 m and a height of 28.55 m, the dome with a diameter of almost 18 m was made slightly smaller than originally planned. The lantern on the dome carries a lion as a weather vane .

At the same time, Zuccalli also played a decisive role in the decorative design of the church interior. Also in 1674 the Comer Giovanni Nicolò Perti and Giovanni Viscardi as well as Abraham Leuthner began with the stucco work.

The church was consecrated on July 11, 1675 - at that time it was largely still in the shell state. Long discussions about the final facade design delayed the completion; a final result was not found. Zuccalli first built the towers between 1684 and 1692 according to his plans, and in 1688 the interior was completed. From 1692 until completion, Giovanni Viscardi took over construction management. Henriette of Savoy made the church the seat of her congregation of the noble servants of Mary . She died in 1676 and did not see the completion of the Theatine Church.


For a long time the outer facade of the Theatine Church remained unfinished, despite various discussions, no agreement was reached. It was not until around 100 years after the consecration that François de Cuvilliés the Elder designed a facade in the Rococo style with only slight changes, which his son François de Cuvilliés the Younger completed. The width of the facade is emphasized by the base, beams, attic and triangular gable, while the pilasters and columns in a Doric (below) and Ionic (above) order allow the facade to rise upwards. The wide cornice between the two floors also integrates the towers. The sculptors Roman Anton Boos and Ignaz Günther created the figures and the decor. In the gable of the facade is the alliance coat of arms of the then reigning Elector Max III. Joseph and his wife Maria Anna of Saxony-Poland.

Monastery building

The building of the monastery bore the signature of Zuccalli, under whose direction the master builder Lorenzo Perti executed the buildings. Church and monastery formed a huge square between the city wall, Schwabinger Gasse (today's Theatinerstraße), Kuhgasse (today's Salvatorstraße) and Salvatorplatz .

The Theatiners gained a good reputation as pastors and scholars until the end of the 18th century when an increasing decline in discipline and finance became noticeable. Elector Max IV Joseph , who later became King Max I Joseph, abolished the monastery on October 26, 1801, even before secularization . The Theatinerkirche remained the collegiate church and court church , while the electoral departments (ministries) for finance, justice and spiritual affairs were relocated to the convent building after the department of foreign affairs had moved into the still existing Theatine monastery in 1799 . The Theatine monastery remained the site of the electoral government until the middle of the 19th century. The Palais Minucci was built on the southwest wing as early as 1731 .

Destruction and rebuilding

During the Second World War , especially in 1944/45, the church was partly badly destroyed and the monastery very badly destroyed, except for the west wing. The Altarpiece The foundation of the Theatine Church by the Elector couple ( Antonio Zanchi , 1675) was also destroyed. Reconstruction began as early as 1946 and was largely completed in 1955. Dominicans have looked after the collegiate church since 1954 and have had a small branch at St. Kajetan ever since. The rebuilding of the former monastery site was completed in 1973. The resulting building complex houses the Bavarian State Ministry for Education and Culture, Science and Art . A general renovation of the church has been carried out since 2001, which was completed in 2019.

Dimensions of the structure

  • Length of the main nave: 72.50 m
  • Width of the main nave: 15.50 m
  • Height of the main nave: 28.55 m
  • Height of the towers: 64.60 m
  • Height of the dome: 70.20 m
  • Diameter of the dome: 17.70 m


History of the high altars

The high altar

From the inauguration of the church in 1675 to the destruction of the choir during the Second World War, four high altars alternated: For the inauguration on July 11, 1675, a design by the then site manager and Theatiner , Antonio Spinelli , was carried out. This first altar, commissioned by the Electress Henriette Adelheid at Spinelli on January 15, 1670, consisted of two larger than life kneeling angels, which supported a large spherical tabernacle. It is possible that this was only a provisional model, the final version of which was never implemented (compare ball tabernacle San Giorgio Maggiore Venice). In his Kurbayerisches Atlas published in 1687, the Munich lawyer Anton Wilhelm Ertl describes the altar from 1675 in the ensemble with the four Ableithners evangelists as follows: "Next to the choir = altar there are two large cherubs / and then the four holy evangelists above the size of a man."

In the 1720s, this first high altar was replaced by the second, mostly dated 1722. This had the well-known round temple-like tabernacle , which at that time still formed a unit with the cafeteria. In 1854 this " Tempietto Altar" was replaced by the presumed reconstruction of the original "High Altar from 1675". Instead of kneeling angels and a round tabernacle , however, this third high altar was characterized by a cabinet-like three-part altar retable . From 1928 to 1930 this third solution was replaced by a replica of the “Tempietto Altar” from 1722. It was also he who was destroyed on January 7, 1945.

The version, usually referred to as the "Altar from 1722", which adorned the church interior the longest (1720s to 1854; 1930s to 1945), like Spinelli's kneeling angels with spherical tabernacles in front of it, was an excellent addition to the overall work of art of the Theatine Church. The “Art Monuments of the Kingdom of Bavaria” state that the “huge high altar” would have “had a great decorative effect”. It was divided into a front and a back part. Altar structure and cafeteria with tabernacle (from the beginning of the 19th century) were separated. In between was the music and psalm choir. In the original arrangement there were portal buildings on the sides of the cafeteria, framed by larger-than-life statues of the four evangelists (by Balthasar Ableithner ): “These figures, as well as the neatly crafted angel figures, which on both sides carry the oratorios of the choir, also by Ableithner's hand , harmonize with the overall decorative effect of the presbytery ”(Kunstdenkmäler, p. 960).

During the Second World War, an air raid destroyed the choir room - choir screen, altar and tabernacle - as well as the figure of St. Matthew. During St. Luke was badly damaged, the figures of St. Evangelists Mark and John received. Johannes and Markus were placed on the upper floors of the two transept altars. The new choir room design created after the war consisted of a simple, stone altar with cafeteria and tabernacle, which was placed on several steps. Behind the altar, the chancel was separated by a curtain attached to a wrought iron grille. In the wake of the liturgical reform of the Second Vatican Council , an additional wooden altar was erected. This altar, which is still in the church today, fits harmoniously into the interior of the church. The project “Redesign of the sanctuary” has so far not led to any result - the designs by Friedrich Koller and Stephan Huber have not been implemented.

In 2004 the evangelists Markus and Johannes returned from the upper floors of the transept altars to the chancel with the support of the State Building Authority Munich I. Thanks to the financial support of the German Foundation for Monument Protection, the completion of the statue of Luke, which had only been preserved in fragments until then, was carried out by Professor Jörg Maxzin, who taught in Deggendorf. Only black and white photos of the statue of St. Matthew, destroyed in World War II, have survived - an artistically sophisticated copy of the lost original was hardly possible. Thus the Roman sculptor Giuseppe Ducrot was commissioned by the Catholic Church Foundation St. Kajetan with a new creation. He first created a model, which the South Tyrolean sculptor Gregor Prugger converted into limewood under his aegis. The new figure now closes the gap on the high altar, adapting to the baroque figures in size and expression, but being consciously recognizable as a new creation. The Bauer'sche Barockstiftung took over the entire cost of the statue of St. Matthew. Thus, the current state approaches the original from 1722 again. As early as 2004, the two archways were also provisionally rebuilt (made of wood and plastic). In the spring of 2016, the gray curtain separating the chancel was replaced by a new temporary solution in wood and textile. The aim is to restore the choir screen that was destroyed in 1944 .


High altar picture by Gaspar de Crayer (1646)

The largest works can be found on the three main altars, i.e. in the apse and in the two transverse arms. The high altar was once adorned with a painting (1675) by Antonio Zanchi , which showed the saints St. Kajetan and Adelheid, as well as the donor family, as well as two pages holding a model of the Theatine Church in their hands. This picture was destroyed in the penultimate year of the war, 1944. The altar now contains a painting by Gaspar de Crayer depicting a Madonna enthroned. Since it is a little smaller than the frame field of the retable , it was surrounded with a drapery that fills the space in between.

In the left side altar, i.e. in the transept of the church, there is an altarpiece by the hand of the renowned painter Joachim von Sandrart , which shows “Kajetan's wonderful intervention in the plague of Naples”. The oversized work (8.50 × 4.40 m) in dark colors was commissioned by the Bavarian electors in 1667 and had existed since its completion in 1671, until it was outstanding when the church was inaugurated in 1675 Found place. In the right transept altar is a splendid picture by Carlo Cignani , which he sent to Munich in 1676, depicting the " Holy Kinship " - a work of splendidly vital, Northern Italian baroque painting, which in its mood represents exactly the opposite of the sad opposite of the plague picture.

Important works of art

Joachim von Sandrart, St. Kajetan Munich
Stucco angel


The interior of the Theatine Church is richly decorated with stucco. In the Baroque and Rococo styles, Corinthian column elements with acanthus leaves as well as ornaments and religious figurations are incorporated.


There are three organs in the Theatinerkirche: the main organ from 1960 behind the high altar in the choir, the side organ from 1950 in a box on the right across from the pulpit, and a chest organ from 2018.

Main organ

The main organ was built in 1960 by Ludwig Eisenbarth ( Passau ) and inaugurated in 1961. The instrument has 49 registers with an electro-pneumatic action. It can be played from a mobile five-manual console located in the choir room. The side organ with 17 stops is assigned to the 4th and 5th manual. The two-part organ system has a total of 66 stops. Between 2003 and 2009 both organs were relocated as part of the interior renovation of the church and renovated and rebuilt in 2009 by Dieter Schingnitz ( Iffeldorf ). In addition, the general gaming table received an external notebook-based setting system. A new construction of the main organ is planned in the long term. The current disposition:

I breastwork C – g 3
Night horn 8th'
Quintad 8th'
Italian principal 4 ′
recorder 4 ′
Cane fifth 2 23
Schwegel 2 ′
third 1 35
Sif flute 1 13
Oktavlein 1'
Scharff IV 23
Rankett 16 ′
Krummhorn 8th'
II Hauptwerk C – g 3
Principal 16 ′
Principal 8th'
Gamba 8th'
Covered 8th'
octave 4 ′
Reed flute 4 ′
Fifth 2 23
octave 2 ′
Large mix V-VII 2 ′
Mixture IV 12
Trumpet 16 ′
Trumpet 8th'
Clarine 4 ′
III Swell C – g 3
Gedacktpommer 16 ′
Principal 8th'
Pipe whistle 8th'
Soft flute 8th'
Beat (from g 0 ) 8th'
Praestant 4 ′
Coupling flute 4 ′
Night horn 2 ′
Mixture IV 1 13
bassoon 16 ′
Trumpet 8th'
oboe 8th'
Field trumpet 4 ′
Pedal C – f 1
Acoustic pedestal 32 ′
Principal bass 16 ′
Sub-bass 16 ′
Octave bass 8th'
Covered bass 8th'
Chorale bass 4 ′
Night horn 2 ′
Backset V 2 23
Bombard 32 ′
trombone 16 ′
Trumpet 8th'
Clairon 4 ′
  • Coupling : II / I, III / I, I / II, III / II, IV / II, V / II, V / III, V / IV, I / P, II / P, III / P, IV / P, V / P, coupling off, general coupling (closed).
  • Playing aids : crescendo roller, hand register, 3 free combinations, 1 pedal combination, Zimbelstern, individual stop for the reed register, hand register from roller, manual 16 'from, reeds off, main work off, tutti main organ, tutti side organ, generaltutti.
  • Remarks
  1. Schingnitz 2009, instead of Gemshorn 8 '(Eisenbarth 1960).
  2. Schingnitz 2009, instead of Nasard 2 23 ′ (Eisenbarth 1960).
  3. Schingnitz 2009, instead of Terzzimbel (Eisenbarth 1960).
  4. Schingnitz 2009: Transmission of Gedacktpommer 16 'III. Manual (CH Quint circuit Gedacktpommer 16 '), instead of Zartbass 16' (Transmission Gedacktpommer 16 'III. Manual, Eisenbarth 1960).
  5. ^ CH Eisenbarth (1960), c 0 –f 1 Schingnitz (2009).
  6. half length.

Side organ

The side organ was built in 1950 by Carl Schuster in a box on the right opposite the pulpit (without its own prospectus). The Kegelladen instrument has 17 registers and can be played from its own two-manual console as well as from the 4th and 5th manual of the general console. During the renovation of the organs by Dieter Schingnitz (Iffeldorf) in 2009, a register in the first manual of the side organ was replaced and the pipework was converted to the wind chest. Since March 2019 the side organ has been renovated by Orgelbau Kaps ( Eichenau ). The disposition:

"Loved dearly and deeply weeping" is the inscription under the grave relief for Princess Maximiliane Josepha Caroline of Bavaria (1810–1821). Konrad Eberhard created it in the years 1821–1825.
I. Manual (IV)C-g 3
Principal 8th'
Solo flute 8th'
Playing flute 8th'
Octave 4 ′
Nazard 2 23
Octave 2 ′
Mixture V 2 ′
II. Manual (V)C-g 3 C-g 3

Covered 8th'
Salicional 8th'
Principal 4 ′
Reed flute 4 ′
Night horn 2 ′
Zimbel III 1'
English horn 8th'
Pedal C – f 1
Sub-bass 16 ′
Soft bass 16 ′
Octave bass 8th'
Chorale bass 4 ′
  • Coupling: II / I, I / P, II / P. Sub-octave coupling: II / I (2009).
  • Playing aids: Register crescendo as a balance step, hand register, 1 free combination, tongues off, piano pedal on.
  • Remarks
  1. Fourth manual on the main console.
  2. Schingnitz 2009, instead of Pommer 4 '(Schuster 1950).
  3. Fifth manual on the main console.
  4. Attenuation of sub-bass 16 ', shut down since 2009.

Chest organ

The single-manual, transportable chest organ with four registers was built in 2018 by Orgelbau Kaps ( Eichenau ).

Manual C – d 3
Covered 8th'
Reed flute 4 ′
Fifth 2 23 ′ (from b 0 )
Principal 2 ′ (in the brochure)
  • Transpose device (semitone up and down).

Wittelsbacher burial place

Princely crypt, sarcophagus of Emperor Charles VII.
Princely crypt, sarcophagus of King Otto I of Greece
Princely crypt, sarcophagus of Prince Regent Luitpold
Princely crypt, sarcophagus of Crown Prince Rupprecht
Side chapel, sarcophagus of King Maximilian II.
Side chapel, sarcophagus of Queen Marie

Because of its function as a court church, the church has also had a princely crypt from the beginning , which, along with the church of St. Michael and the Frauendom, is one of the most important burial places of the Bavarian ruling house of the Wittelsbach family . As a rule, however, only the bodies of the deceased were buried here; most of the hearts were buried in the Altötting Chapel of Grace. Most of the dead Wittelsbachers in the Theatinerkirche rest in the royal crypt (currently 47 family members) in metal sarcophagi:

The following tombs (in stone sarcophagi) can be found in a side chapel of the main nave:

See also: Tombs of European Monarchs


The ringing consists of five church bells . Fragments of the destroyed four peal of St. Michael in the bells food of Michael bell was melted down.

Every Saturday at 3 p.m. Sunday is rung in for five minutes with all the bells. For Sunday masses, the big bell rings a quarter of an hour before the start, and all bells five minutes before. The doorbell does not ring on weekdays.

Casting year
Foundry, casting location
1 Kajetan 1967 Karl Czudnochowsky , Erding 1570 2384 h 0 Keep us from plague, hunger and war, Lord Jesus Christ, on the intercession of St. Kajetan.
2 Michael 1950 Gebr. Oberascher, Munich 1400 ~ 1500 d 1 I am the resounding remnant of the bells of St. Michael, merged in the sea of ​​flames of April 25, 1944. I was reshaped in the Holy Year of 1950 when the barrel vault in St. Michael was drawn in.
3 All Souls 1967 Karl Czudnochowsky, Erding 1200 1076 e 1 Requiem aeternam dona eis, Domine.
4th Dominic 1961 1020 661 g 1 Loquamur cum deodorant et de deodorant.
5 Weather 1953 890 ? a 1 A fulgure et tempestate, liberanos Domine Jesu Christe.

All Souls Brotherhood

The All Souls Brotherhood , founded in 1615 in the St. Laurentius Chapel in the Alter Hof , was transferred to the Theatine Church after the Laurentius Chapel was demolished in 1816 and has been called the All Souls Brotherhood at St. Kajetan ever since .

Well-known members of the collegiate chapter (1839 to 1954)


  • Sebastian Staudhamer (* 1857), curator of the Reichen Kapelle, monastery dean from 1923


  • Franz Xaver Eberle (1874–1951), Canon 1907 to 1912
  • Maximilian Fastlinger (1866–1918), historian, professorial librarian, canon from 1913
  • M.Hauber (Johann Michael Hauber,?), 1778-1843; Court preacher and provost at St. Cajetan in Munich, writer, collector of music manuscripts
  • Josef von Hecher (1845–1919), Canon from 1886, provost of the collegiate chapter from 1913
  • Franz Anton Ritter von Henle (Canon 1890 to 1895)
  • Julius Kaspar (1867–1940), Dr. theol., vicar choir at Sankt Kajetan from 1900, canon from 1912
  • Josef Alois Prand , Canon 1838 to 1843, Vicar General
  • Josef Maria Schönfelder
  • Martin Schrettinger
  • Johannes Schrott, (1824-), Canon from 1861
  • Georg Schwaiger (January 6, 1879-), Dr. phil., Canon from 1925
  • Paul Schweyer (April 20, 1877 - August 2, 1962)
  • Isidor Silbernagl
  • Jakob von Türk (1826–1912), Dr. theol. , Confessor of King Ludwig II , from 1883 dean, from 1890 provost of the collegiate monastery, apostolic protonotary
  • Franz von Walderdorff (1867–1929), from 1900 preacher at St. Kajetan, Canon 1901–1907.

Honor canon

  • Ignaz Bader (1854–1934), honorary canon from 1925
  • Adolf Christl (1874–1949), 1912–1914 vicar choir at Sankt Kajetan, honorary canon from 1941

Vicars choir

  • Franz Xaver Eggersdorfer (1879–1958), vicar choir 1909–1911.
  • Joseph Göttler (1874–1935), vicar choir from 1904
  • Franz Jacobi (December 3, 1883-), Dr. phil., vicar choir from 1913, monastery ceremonial
  • Franz Kendler (August 21, 1891-), Dr. theol. et phil., vicar choir from 1927
  • Josef Sellmair , (February 21, 1896-), Dr. phil., vicar choir from 1928
  • Konrad von Lengrießer (February 23, 1891-), vicar choir from 1931


  • Simon Geiger (May 9, 1885-), Dr. theol., honorary canon, canon preacher from 1931


  • Georg Dehio (greeting), Ernst Götz (editing): Munich and Upper Bavaria ( Handbuch der Deutschen Kunstdenkmäler ; 4). Deutscher Kunstverlag, Munich 1990, ISBN 3-422-03010-7 , p. 705.
  • Klaus Gallas : Munich. From the Guelph foundation of Henry the Lion to the present: art, culture, history . DuMont, Cologne 1979, ISBN 3-7701-1094-3 (DuMont documents: DuMont art travel guide).
  • Fabian Pius Huber, "Courage to do magnificent things" The Theatinerkirche in Munich. Kunstverlag Josef Fink, Lindenberg im Allgäu 2019, ISBN 978-3-95976-133-8 .
  • Alfred Kaiser: Theatinerkirche St. Kajetan. Munich (=  small art guides / churches and monasteries ). Schnell and Steiner, Regensburg 2010, ISBN 978-3-7954-4023-7 .
  • Joseph Koegel : History of the St. Kajetans-Hofkirche, the Theatiner and the Königl. Court and Collegiate Foundation in Munich . Herder, Munich 1899.
  • Christine Riedl-Valder, Munich, St. Kajetan - court church and burial place of the Wittelsbach family. history

Web links

Commons : Theatinerkirche (Munich)  - Collection of images, videos and audio files

Individual evidence

  1. ^ Reiser 2012 (see below), p. 95 quoted from the monastery diary of 1675: “fare la consecrazione alli 11 di luglio, giorno natale del Ser. Principe Elettorale. "
  2. The sketch is now in the Bavarian Main State Archives Plsg 7816; see. Gabriele Dischinger: Drawings of church buildings up to 1803 in the Bavarian Main State Archives , 2 vols., Wiesbaden 1988, vol. 1, p. 141.
  3. ^ Anton Wilhelm Ertl: Kur = Bavarian Atlas. Views and descriptions of old Bavarian cities from 1687 , p. 107 (reprint: Passau 1968).
  4. So, dated 1675, for example in Richard Hoffmann: Bayerische Altarkunst , Munich 1923, p. 136.
  5. ↑ Summarized from Thomas Reiser: St. Kajetan's of Munich 'Main Altar of 1675' in the year 1675 , in: Regnum Dei, Collectanea Theatina, 68 (2012), pp. 77-108; and Erwin Emmerling: The Choir Barriers of St. Kajetan, former Hofkirche Munich (Theatinerkirche) , in Monument Preservation and Repair, Lectures Winter Semester 2004/2005 , Technical University Munich 2004/2005, pp. 67–99.
  6. Süddeutsche Zeitung: Resurrection in the Theatinerkirche. Retrieved September 20, 2019 .
  7. ^ Hermann and Anna Bauer: Monasteries in Bavaria. An art and cultural history of the monasteries in Upper Bavaria, Lower Bavaria and the Upper Palatinate . 2nd, revised and supplemented edition. Beck, Munich 1993, ISBN 3-406-37754-8 , pp. 132 ( limited preview in Google Book search). A picture of this work can be found at:,_die_Heiligen_Adelheid_und_Cajetan_und_der_Kurf%C3%BCrst_Ferdinand_Maria_von_Bayern_mit_Familie_Zanchintonng
  8. ^ Norbert Lieb: Munich . The story of his art. 3. Edition. Callwey, Munich 1982, p. 132 .
  9. Kajetan's wonderful intervention in the plague at Naples. In: A web-based research platform on the art and cultural history of the 17th century. Thomas Kirchner, Alessandro Nova, Anna Schreurs u. a., accessed on May 30, 2013 .
  10. Information on the two organs in the Theatinerkirche . Accessed May 14, 2018.
  11. Information on the Kaps chest organ at Accessed November 6, 2018.
  12. fionic GmbH . Accessed May 14, 2018.
  13. ^ Main organ of the Theatine Church . Accessed May 14, 2018.
  14. Side organ of the Theatinerkirche . Accessed May 14, 2018.
  15. Information on the Kaps chest organ at Accessed November 6, 2018.
  16. All Souls Brotherhood at St. Kajetan. Pray for the dead so that we may also be prayed for. In: Theatinerkirche. Church Foundation St. Kajetan, accessed May 30, 2013 .
  17. ^ Schematism of the clergy for the Archdiocese of Munich and Freising for the year 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXIV
  18. ^ Short biography Sebastian Staudhamer, in: Faulhaber Edition
  19. ^ Short biography Eberle, in: Edition Faulhaber
  20. Werner Ebnet: You lived in Munich: Biographies from eight centuries . Allitera, Munich 2016, ISBN 978-3-86906-911-1 , p. 179 ( limited preview in Google Book search).
  21. ^ State Library Regensburg, provenance file
  22. Short biography Eberle, in: Edition Faulhaber
  23. ^ Biogram in the Federal Archives at von Henle
  24. Short biography Kasper in: Edition Faulhaber
  25. [1]
  26. ^ Page of the Catholic theol. Faculty of the LMU via Schönfelder
  27. ^ Susanne Schmidt-Tesch, The Refugium of a Poet, in: Augsburger Allgemeine, September 2, 2012
  28. [Schematism of the clergy for the Archdiocese of Munich and Freising for 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXV]
  29. ^ Short biography Georg Schwaiger, in: Faulhaber Edition
  30. ^ Critical online edition of the diaries of Michael Cardinal von Faulhaber (1911-1952). Diary entry from October 1, 1919 EAM, NL Faulhaber 10003, pp. 115-116. Available at: Last accessed on May 16, 2020
  31. ^ Page of the Catholic theol. Faculty of the LMU via Silbernagl
  32. ^ Short biography Walderdorff, in: Edition Faulhaber
  33. ^ Short biography Christl, in: Edition Faulhaber
  34. ^ Short biography Eggersdorfer
  35. Short biography Göttler In: Edition Faulhaber
  36. Schematism of the clergy for the Archdiocese of Munich and Freising for 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXV
  37. Schematism of the clergy for the Archdiocese of Munich and Freising for 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXV
  38. Schematism of the clergy for the Archdiocese of Munich and Freising for 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXV
  39. Schematism of the clergy for the Archdiocese of Munich and Freising for 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXV
  40. Schematism of the clergy for the Archdiocese of Munich and Freising for 1933, Verlag des Erzbischöflichen Ordinariates, Munich 1933, p. XXV
  41. Simon Geiger, in: Critical online edition of the diaries of Michael Cardinal von Faulhaber (1911-1952). Available under: . Last accessed on July 28, 2020
  42. ^ Christine Riedl-Valder, Munich, St. Kajetan - court church and burial place of the Wittelsbach family. history