Our Lady of Mount Carmel (Mussenhausen)

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The sanctuary seen from the northeast

The pilgrimage church of Our Lady of Mount Carmel is a place of worship in Mussenhausen, Upper Swabia . In the parish community of Markt Rettenbach it is a branch church of the parish of St. Otmar in Eutenhausen and belongs to the dean's office of Memmingen in the diocese of Augsburg .

The church is characterized by Marian symbolism , which is not only shown in the numerous frescoes by Johann Baptist Enderle , but also in the stuccoed putti , which depict the twelve virtues of Mary. The combination of paintings from the theme of the Passion of Christ with matching emblemata in the choir stalls is noteworthy. The fourteen crib-like, carved Stations of the Cross are a rarity .

location

The church was built in the Auerbachtal on the southern outskirts of the town of Mussenhausen. The outskirts are not yet sprawled here. To the north is a retirement home, and to the east is the state road St 2013 . The north is undeveloped and is used agriculturally as grassland. In the west the church is bounded by the attached monastery .

history

Look at the choir

Mussenhausen did not have its own church and belonged to the parish of Eutenhausen . According to pastor Jeremias Schiffmann's records from 1676, three brothers from Eutenhausen came into possession of a booklet from the Brotherhood of the Holy Scapular in 1647 and became members of the Augsburg Scapular Brotherhood. Philipp Schropp, one of the brothers, fell seriously ill and had a vision in which the Virgin Mary asked him to build a church. After his recovery, he built a wooden chapel in his orchard in 1649. His brother Albrecht Schropp painted an oil painting of Our Lady on Mount Carmel and Philipp set it up in the chapel where the residents of Mussenhausen now held prayer. When answers to prayer became known, more and more pilgrims came to the small chapel to pray in front of the image. Therefore, on May 26, 1653, Philipp Schropp laid the foundation stone for the construction of a larger stone chapel. As early as March 28, 1666, a separate Scapular Brotherhood could be founded at the chapel, which still exists.

After this chapel was no longer able to cope with the pilgrimage, Pastor Martin Baur had a long house added to the existing chapel. The foundation stone for this new building was laid on October 2, 1669 and the church was completed in 1671. Between 1675 and 1676, the master mason Thomas Natter from Mindelheim replaced the chapel, which had served as a choir since the nave was added, with a high choir and added the tower with the sacristy on its south side. On July 25, 1694, the Augsburg auxiliary bishop Johannes Eustache Egolf von Westernach consecrated the new church. Between 1751 and 1763, a new high altar and a new pulpit were purchased and the shell was redesigned in the Rococo style. According to the style of the time, the church was changed between 1862 and 1870. Together with the high altar, the baroque cross altar, on which there were depictions of the Passion of Jesus, the author of which a peasant son from the area has been handed down, was irretrievably removed. In 1912, the changes made in the 19th century were largely reversed. Pilgrimage priests have lived in the Klösterl , which was added in 1698, since 1700 . This was followed in 1858 by Capuchins from Altötting, who added a south wing to the monastery in 1888 . They served in the church until 1984. Restorations were carried out from 1950 to 1957 and from 1976 to 1980; in the latter, the slate roofing of the tower onion was replaced by copper, and the pulpit staircase and sign were rebuilt. Damage to the roof structure and the ceiling of the choir and nave made an interior restoration necessary, which took place between 2006 and 2009 and cost a total of around 420,000 euros. New chandeliers were purchased and on July 16, 2013 , the Augsburg auxiliary bishop Florian Wörner consecrated and blessed a new folk altar by the sculptor Thomas Link from Waal, a new ambo and Easter candlestick .

Building description

View from the choir into the nave

The building is a hall church with a retracted choir. The choir and nave are combined under a single roof structure despite a difference in height of two and a half meters. The tower stands on the south side of the choir, at its western end. The church is built from bricks, which are plastered. The exterior color of the church is pink. The buttresses on the choir and smaller window decorations are kept in natural white, as are the sacristy, the pulpit staircase and the sign.

Choir

The choir with a five-eighth closure is 17 meters long, 7.5 meters wide, 10.5 meters high and receives light through seven arched windows, none of which is in its apex. It is provided with a barrel-shaped stone vault into which small stitch caps cut. Red marbled pilasters are decorated with cornices on which wingless putti sit. An arched door enables access to the sacristy, which leads through the basement of the tower. Above this floor there is a barrel-vaulted oratorio with a round-arched opening to the choir. Eight buttresses in Gothic style with double water hammer support the choir walls. A baroque chapel with the dungeon savior is attached to the choir wall between the two eastern buttresses. A large wooden missionary cross in the shape of a Caravaca cross from 1773 is attached to the wall above . At the eastern end of the roof ridge is an iron Caravaca cross.

Longhouse

The nave has a pilaster structure on the outside , has four window axes and is 24 meters long, twelve meters wide and eight meters high. The windows are arched. The hall is closed at the top with a flat ceiling with side coves . In the west there is a gallery for the organ. The north and south walls have pilasters inside. On the outside of the north wall there is a pulpit staircase covered with a dome in the east and a sign covered with a gable roof in the west , through which you can reach the arched entrance door from around 1750. Above this door, a three-part cartouche painted around 1700 depicts a scapular on the left, the miraculous image in the middle and the Calvary with the three crucified Christ on the right.

tower

The tower has a height of 41 meters. The lower square part is divided into four sections by three cornices . In the top section, a clock face of the tower clock is attached to all four sides . Narrow arched windows are let into the lower sections. On the square rests an octagon in which the bells hang. On each of the eight sides, between pilaster strips, it has a round-arched sound opening, crowned by a small gable that is alternately triangular or segment-arched . A richly profiled cornice separates the eight sound openings from the eight diagonally oval ox eyes above . The tower is crowned by an eleven meter high onion dome with a sphere, Caravaca cross and weather vane at its top. The sacristy is built onto the south side of the tower.

Furnishing

Presentation of Mary in the temple

Most of the interior is from the Rococo . Johann Baptist Enderle worked as a fresco artist, and the stucco in the choir was probably created in 1756 by a Wessobrunn master. Seven years later, Andreas Henkel stuccoed the nave. The church also contains pieces of equipment from the Baroque period , such as the side altars and the choir stalls, and from the Renaissance , when the high altarpiece was created.

Choir

Frescoes

The large ceiling fresco in the choir, which is surrounded by smaller frescoes in cartouches , was created by Enderle in 1756, as can be read in a chronogram : E CC E OB L AT I O / MV N D A / sub parocho Mayr (see, a pure Offering, under Pastor Mayr). This fresco shows Mary's temple passage . Maria is shown as a young girl, accompanied by her parents Joachim and Anna, in front of a temple designed in a baroque style. She climbs a staircase, at the end of which the high priest is waiting for her. Many angels and putti can be seen above the baroque ceiling. In the sky above, God the Father is shown with a triangle as a sign of the Holy Trinity in the center of a cloud. To his left is a globe with a cross symbolizing Jesus. A dove with a halo as a symbol of the Holy Spirit hovers over the scene. The smaller frescoes contain groups of the four continents, the four times of the day and four seasons. The times of day indicate prayer and worship: the rising sun with the prayer chain on the rosary , the flaming heart in front of the Marian monogram on the Sacred Heart devotion at noon, the burning candle with the setting sun on the evening prayer and the allegory of the night with Chalice and sacrificial lamb under starlight on the Eucharist . All frescoes are embedded in a stucco decoration made of partly plastic rocailles . Acanthus decoration from 1676/80 is only preserved at the end of the choir .

High altar

High altar

The upper part of today's high altar was originally in the Evangelical Church of St. Peter and Paul in Erkheim , for which it was created in the first quarter of the 17th century in the Renaissance style. In Mussenhausen it was placed on a Neo-Renaissance base and replaced the rococo altar built in 1751, which had been removed from the church in 1870. When the altar was renovated in 1955, the substructure was replaced with a new one.

The group of figures in the middle section of the reredos shows the risen Christ with his cross, surrounded by a wreath of clouds, which is populated by putti with instruments of suffering such as a scourge and scourge column. The apostles Peter and Paul sit under the wreath . The dove of the Holy Spirit and God the Father above the central field form the Trinity with Christ, crowned by an angel in the blown gable . Behind this in the stitch cap is a scrollwork cartouche with an inscription related to Mary: Clipeus / sperantibus / in se. / Prov.30.5 (A shield for those who hope in her. Prov. 30,5). In the niches next to the middle field is the figure of the apostle John on the left and that of St. Catherine of Alexandria on the right . Two smaller baroque statues that were bought in 1955 and represent St. Anthony and St. Francis are placed on the outside next to the other two.

On the altar substructure from 1955, the tabernacle, which comes from the Jesuit church in Mindelheim, is flanked by two statues that have been preserved from the rococo altar. Although they have no attributes , they are supposed to represent St. Augustine (left) and St. Teresa of Ávila (right).

In front of the altar is a communion bench from 1720. Between it and the choir stalls on the left there is an epitaph for Pastor Johann Michael Mayr on the wall .

Choir stalls

The choir stalls were made between 1713 and 1720 by Hans Jakob Geiger and Andreas Hieberle for the parish church of St. Stephan in Mindelheim. When St. Stephan received new Romanesque furnishings in 1862, the baroque choir stalls came to Mussenhausen. On the north and south side of the choir, the single-row stalls consist of nine stalls each, which are interrupted on both sides by a door. Nine oil paintings on wood from the Passion of Christ are attached to each of the dorsals. In the base zone under each picture in a carved acanthus frame there is a red-colored emblem that matches the respective motif. Two more emblemata are as overraports above the two doors. Franz Anton Germiller is named as a painter . It is possible that only the emblemata were made by him, while the passion paintings could be from the 17th century and their original size has been cropped to fit the seating.

The painter used pictures from two books as templates for the emblemata: 14 motifs come from the book Mundus Symbolicus by Filippo Picinelli and Augustinus Erath, the remaining 6 from the Gnaden-Gebäude , a collection of the emblemata from the Church of the Assumption of Mary in Kirchhaslach. The painter omitted the lemma of each emblem; it is added in the following list.

North side (from west to east)
Christ on the Mount of Olives
  • 1. Christ on the Mount of Olives
  • A hand from a cloud chops off the heads of a seven-headed dragon with a club - MIHI NON HAEC MONSTRA NOCEBUNT (These monsters won't harm me) - GG No. 56
  • 2. Capture of Christ
  • Ship with billowing sails on the high seas - VIS NON VISA MOVET (An invisible force drives) - Pic. lib. XX, cap. VI, No. 116
  • 3. Supraporte: Angler with caught fish on the river bank - TENET, ATQUE TENETUR (He holds on and is held) - Pic. lib. VI, cap. II, No. 19
  • 4. Christ before Kajaphas
  • Noah's Ark with dove - NUNCIA PACIS (Messenger of Peace) - GG No. 32
  • 5. Mockery
  • Dying basilisk in front of a mirror - IPSE PERIBIT (He will perish himself) - Pic. lib. VII, cap. III, No. 22
  • 6. Christ before Pilate
  • Seven-armed candlestick - NON EXTINQUETUR IN NOCTE LUCERNA EIUS (Its light is not extinguished at night) - GG No. 65
  • 7. Flagellation
  • A pumpkin is floating on the sea - ABLUOR, NON OBRUOR (I am washed, not sunk) - Pic. lib. X, cap. XIII, No. 46
  • 8. Crowning of thorns
  • Rose under thorns - SIC AMICA MEA INTER FILIAS (This is my friend among the daughters) - GG No. 4
  • 9. Ecce homo
  • Mirror in front of the landscape - OMNIBUS OMNIA (Allen everything) - Pic. lib. XV, cap. XXIII, no.176
  • 10. Washing of Pilate's hands
  • Butterfly flies in candle flame - UT POTIAR, PATIOR (To conquer, I suffer) - Pic. lib. VIII, cap. XVII, no.263
South side (from east to west)
Emblem: wine press
Emblem: Virgin with unicorn
  • 1. Christ carrying the cross
  • A hand from a cloud holds a ring over a landscape - LUCET, ET ORNAT (He shines and decorates) - Pic. lib. XII, cap. XIX, No. 123
  • 2. Christ's undressing
  • Sacks of money on a table - OMNIA DONAT (He gives everything) - Pic. lib. XIII, cap. VII, No. 73
  • 3. Christ nailing to the cross
  • Wine press - AB INVITIS EXTORQUET (it squeezes something out of unwilling) - Pic. lib. XVII, cap. XXXIV, No. 185
  • 4. Erect the cross
  • Burning Bush - FLAGRAT, NON CONFLAGRAT (It burns, but it doesn't burn) - Pic. lib. IX, cap. XXXIV, No. 438
  • 5. Christ's death on the cross (lance cut)
  • Vines and grain fields - ESURIENTEM SATIAVIT BONIS (He has satisfied the hungry with gifts) - GG No. 24
  • 6. Descent from the Cross
  • A hand from a cloud writes a letter on a table - PROMIT INTIMA CORDIS (It brings out the innermost part of the heart) - Pic. lib. XIX, cap. IV, No. 11
  • 9. Supraporte: Landscape with the sun, above which the lion of the zodiac stands - GEMINAT INCENDIA (It doubles its glow) - Pic. lib. I, cap. VI, no.193
  • 10. Resurrection of Christ
  • Castle on top of a mountain with a hiker at the foot of the mountain - AD SUMMA PER IMA (Via the deepest place to the highest) - Pic. lib. II, cap. XXXI, No. 586

Longhouse

Frescoes

Wise virgin
Holy Casimir

Enderle furnished the nave in 1763. Here he painted a large ceiling fresco, which is surrounded by smaller frescoes in the vaulted ceiling. All frescoes are set in rococo stucco frames. The large fresco shows the Assumption of Mary into heaven and her coronation and extends over almost the entire ceiling. Only the space for the side cartridges is not filled by the fresco. The frescoes on the side show twelve canonized princes, kings and emperors who form the court of Mary. Among them are three kings from the New Testament , three kings from the Old Testament and six rulers from the Christian West. The three wise men can be seen on the arch of the choir : Kaspar, the treasurer of Mary, is shown in the center and is flanked by Melchior as courier and Balthasar as chamberlain. In the west above the organ, King David is shown as Chancellor, accompanied by Josias as Registrar and Ezechias as Secretary of Mary. Six medieval rulers are painted over the side pilasters : King Ludwig of France, Margrave Leopold of Austria, King Stephan of Hungary, King Ferdinand of Castile, Emperor Heinrich II and the Polish Prince Casimir , all known as servants of Mary.

King Kaspar is surrounded by four putti with banners on which are written words that form a chronogram with the year 1763: eCCe / gLorIa / DeIparae / In MVssenhaVsen (see, the glory of the Theotokos in Mussenhausen). In the lower part, Kaspar's fresco is flanked by two cartouches that show the sun and moon as symbols of Mary : amicta Sole and Luna sub pedibus eius (covered with the sun, the moon was under her feet) (Rev 12: 1).

On the pilasters on the wall, the five wise virgins with burning oil lamps are depicted in grisaille painting . In cartouches under the pictures, inscriptions make a reference to Mary by alluding to invocations of Mary as a virgin in the Lauretanian litany: virgo pia (benevolent virgin) and virgo fidelis (faithful virgin) on the north side, virgo sapiens (wise virgin), virgo veneranda (venerable virgin) and virgo potens (mighty virgin) on the south side.

On the balustrade are the portraits of five priests who promoted the pilgrimage and rendered services to the church. In the middle, the picture of the pastor Johann Michael Mayr, who organized the stucco and painting of the church, is particularly emphasized by its landscape format, size and color. Like some rulers in the court of Mary, he is also referred to in a stucco cartouche as the servant of Mary. As the only priest, he is not named, but can only be identified by the year he took office (1742). Pastor Martin Baur can be seen on his left, who had the nave built, and on his right, Pastor Simon Petrus Reßle, who built the pilgrimage priestly house. Each priest holds a burning candle in his hand.

Two wide-format paintings are placed between the portraits. On the right is the death of Mary, on the left the funeral procession with her corpse. Excerpts from Mt 9.24 are reproduced in cartouches below the pictures: Non Est Mortua (she did not die) (right) and Sed Dormit (she is only asleep) (left). These are words that Jesus speaks in the story of the resurrection of the daughter of the synagogue ruler Jairus to the mourners present and which are here related to Mary.

Side altars

The two side altars from 1675 stand on both sides of the choir arch, were revised in 1912 and redesigned in 1954, based on the original color scheme. On the left altar the miraculous image is attached in a golden halo, the Virgin with the scapular, which was made by Albrecht Schropp in 1649. It originally had its place on the high altar, but was moved here in 1870 when the rococo altar was removed. In the excerpt a carved relief shows God the Father. On the right altar is a painting by Joseph Mages from 1753, which shows the award of the Portiuncula indulgence to Francis of Assisi, and in the extract there is a relief of King David playing the harp.

Virtues of Mary

Twelve putti with their attributes and excerpts from Bible verses embody the virtues of Mary. The shortened verses have no content-related reference to Mary, but were selected because they contain the Latin term, which indicates the respective virtue. It is noteworthy that the putti are depicted without wings. Above each putti is a gold star, a reference to the woman from the Revelation of John ( Rev 12,1  EU ), who wore a wreath of twelve stars on her head and is identified with Mary. All putti have vegetable attributes: as branches in their hands and as wreaths on their heads.

North side
Stuccoed putto as an allegory of humility
inscription Virtue attribute
Dux Virginitatis Virginitas - virginity Lilies
Pax nostra Pax - peace Olive branches
Spes orbis Spes - hope Tulip buds
Omnium bonorum Mater Bonitas - goodness Apples
Dives in humilitate Humilitas - humility violet
Patientia Sanctorum Patientia - patience Thorn branches

Dux Virginitatis (Jer 3,4): [My father] the friend of my youth [you are].

Pax nostra (Eph 2:14): [For he (Christ) is] our peace.

Spes orbis (Wis 14,6): [So also in primeval times when the cocky giants went down] the hope of the world [took refuge on a raft].

Omnium bonorum Mater (Wis 7: 11-12): [At the same time came with her] all the best [to me ...] [but did not know that she [is] also] its origin.

Dives in humilitate (Jak 1: 9-10): [The brother who lives in the lower class boast of his high dignity,] the rich but his lowliness.

Patientia Sanctorum (Rev 13:10): [Here] the steadfastness [and faithfulness] of the saints [has to be proven].

South side
Stuccoed putto as an allegory of steadfastness
inscription Virtue attribute
Tota pulchra Pulchritudo - beauty Anemones
Mea est Fortitudo Fortitudo - strength Palm branches
Perfecta Charitas Caritas - love Roses
Nihil dulcius Dulcitudo - candy Figs
Obedivit ancilla tua Oboedientia - obedience sunflowers
Maria stabat Constantia - steadfastness Oak branches

Tota pulchra (Hld 4,7): Everything about you is beautiful, [my friend; you have no stain].

Mea est Fortitudo (Prov 8:14): [I am understanding,] mine is strength.

Perfecta Charitas (1 Jn 4:18): [There is no fear in love, but] perfect love [drives away fear].

Nihil dulcius (Sir 23:27): [Nothing is better than the fear of the Lord] nothing sweeter than [keeping his commandments].

Obedivit ancilla tua (1 Sam 28:21): Your maid has listened [to your voice].

Maria stabat (Joh 20,11): Maria (Maria Magdalena!) [But] stood [outside the grave and wept].

Other items of equipment

6th station of the cross: Veronica hands Jesus the handkerchief
James the Elder

The church stalls were made in 1675/76 and stand as an undivided block in the middle of the room out of consideration for the brotherhood aisles. On the north and south walls by the side altars there is a grave slab of a priest.

pulpit

The rococo pulpit from 1751 was redesigned in 1954 in accordance with the original color scheme in olive green and red marbled tones. A curled tail gable with the dove of the Holy Spirit protrudes over an arched door on the rear wall instead of a sound cover . On it are three oil paintings with the evangelist symbols: on the left the bull of Luke, in the middle the winged man for Matthew and the eagle for John, on the right the lion of Mark.

Way of the Cross

The popular Way of the Cross from the 1760s consists of 14 stations. In front of painted wall niches, the sculptural figures carved by Josef Henkel embody the ordeal of Jesus. Jesus is always shown a little larger than the people who surround him.

Sculptures

In the choir, two seated figures represent St. James the Elder and the Evangelist John . Saints Sebastian (left) and Rochus (right) stand on the choir arch . All four sculptures were created around 1700. The figure group of Anna selbdritt in the nave dates from around 1530 . Opposite the entrance hangs a life-size crucifix, which was carved around 1760. Worth mentioning are a Sacred Heart statue and a Saint Joseph with the baby Jesus in his arms from the 18th century.

Confessionals

There are seven confessionals in the nave , six of them under the windows on the north and south sides, the last on the west wall. Four of these confessionals were made by Max Schwarzwälder in 1722 for the parish church of Mindelheim. They were brought to Mussenhausen in 1862. Two more were copied in 1870 and the confessional on the west wall was purchased in 1912.

photos

An oil painting from around 1700 hangs above the entrance to the sacristy, showing Mary as the bride of the Holy Spirit: Mary is shown with crossed hands, over which the Holy Spirit dove hovers. In the nave hang three votive pictures from the 18th century, on the west wall a painting from the mid-18th century with men and women at the feet of Mary, holding rosaries in their hands.

organ

The case, possibly built in 1680 by Jakob David Weidner from Augsburg, houses an instrument created in 1965 by the Karl Orgelbau workshop in Aichstetten with 23 registers on two manuals and a pedal . At the top center of the case is a figure of King David from the late 19th century.

I Hauptwerk C – g 3
1. Bourdon 16 ′
2. Principal 08th'
3. Willow pipe 08th'
4th octave 04 ′
5. flute 04 ′
6th Nasat 02 2 ⁄ 3  ′
7th octave 02 ′
8th. mixture 01 1 ⁄ 3  ′
II upper structure C – g 3
09. Wood-covered 0 8th'
10. Quintatön 8th'
11. Principal 4 ′
12. Reed flute 4 ′
13. recorder 2 ′
14th third 1 3 ⁄ 5  ′
15th Fifth 1 1 ⁄ 3  ′
16. Cymbel IV 1'
17th Krummhorn 8th'
Tremulant
Pedal C – f 1
18th Sub bass 16 ′
19th Subtle bass 16 ′
20th Octave bass 08th'
21st Coupling flute 08th'
23. Choral bass 04 ′
24. Back set IV 0 02 ′

Bells

The Marienglocke from 1949

The oldest bell was cast by Paul Kopp in Munich in 1683 . A bell from 1722 came from the workshop of Johann B. Langenegger & Anton Benedikt Ernst from Munich and another from 1801 from JG Ernst from Memmingen. These original bells were given as a metal donation by the German people during the First World War . The bells that were newly acquired after the war had to be handed in for armaments purposes on January 20, 1942 because of the Second World War . Only one bell from 1924 remained. On July 19, 1949, Karl Czudnochowsky's Erdinger bell foundry delivered three new euphon bells . One of the Erdinger bells is dedicated to Mary from Mount Carmel, one to the Archangel Michael and St. Martin and the third to the Apostle Philip and St. Albert .

No.
 		 Surname
 		 Weight
(kg)		 Chime
 		 inscription
 
1 710 f 1 REGINA S. SCAPULARIS ORA PRO NOBIS (Queen of the Holy Scapular pray for us)
2 407 a 1 ANNO D 1924
3 200 c 2 S. MICHAELE ET S. MARTINE ORATE PRO NOBIS
4th 150 d 2 S. PHILIPPE ET S. ALBERTE ORATE PRO NOBIS

literature

  • Konrad Baumann: Pilgrimage Church Mussenhausen . Schnell & Steiner, Munich, Zurich 1985.
  • Cordula Böhm and Anton J. Brandl: Mussenhausen: Pilgrimage Church of Our Lady of Mount Carmel . Schnell & Steiner, Regensburg 2004, ISBN 3-7954-4399-7 .
  • Heinrich Habel: Mindelheim district. (Brief inventory) (=  Bavarian art monuments . Volume 31 ). Deutscher Kunstverlag, Munich 1971, p. 361-369 .
  • Cornelia Kemp: Applied Emblematics in South German Baroque Churches . Deutscher Kunstverlag, Munich, Berlin 1981, ISBN 3-422-00725-3 , pp. 255-256 .
  • Sybe Wartena: The South German choir stalls from the Renaissance to Classicism . Dissertation at the Ludwig Maximilians University, Munich 2008, p. 557–559 ( uni-muenchen.de [PDF; 5.9 MB ]).

Web links

Commons : Our Lady of the Mountains Karmel (Mussenhausen)  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Konrad Baumann: Pilgrimage Church Mussenhausen , p. 4.
  2. ↑ Heaven is within your grasp. Retrieved November 21, 2018 .
  3. ↑ A jubilee day for the village and the pilgrimage church. Retrieved November 21, 2018 .
  4. ^ Cordula Böhm and Anton J. Brandl: Mussenhausen: Pilgrimage Church of Our Lady of Mount Carmel, p. 6.
  5. ↑ Konrad Baumann: Pilgrimage Church Mussenhausen , p. 14.
  6. ↑ Cordula Böhm and Anton J. Brandl: Mussenhausen: Pilgrimage Church of Our Lady of the Mountains Karmel, p. 10.
  7. ^ Cordula Böhm and Anton J. Brandl: Mussenhausen: Pilgrimage Church of Our Lady of Mount Carmel, p. 6.
  8. ↑ Konrad Baumann: Pilgrimage Church Mussenhausen , p. 10.
  9. ↑ Sybe Wartena: The Sueddeutsche choir stalls from the Renaissance to Classicism. 2008, p. 558.
  10. ↑ Filippo Picinelli, Augustinus Erath: Mundus Symbolicus . Coloniae Agrippinae 1681, ( digitized volume 1 and digitized volume 2 ).
  11. Jump up ↑ Gnaden-Gebu der Ubergabeedeyten Mother of God, And Always Virgin Mary,: How Vermahlen zu Kirchaßlach is presented with all kinds of praised and honored wives; With added devotional Bitt-Rueff on the use of Christian pilgrims. Augsburg 1714.
  12. ↑ Cornelia Kemp: Applied Emblematics in Southern German Baroque Churches , pp. 255-256.
  13. ↑ Konrad Baumann: Pilgrimage Church in Mussenhausen , p. 13.
  14. ^ Cordula Böhm and Anton J. Brandl: Mussenhausen: Pilgrimage Church of Our Lady of Mount Carmel, p. 15.
  15. ↑ Konrad Baumann: Pilgrimage Church Mussenhausen , p. 14.
  16. ↑ Important historical organ prospectuses in the diocese of Augsburg. Website of the Office for Church Music, Diocese of Augsburg, accessed on November 9, 2018.
  17. ↑ Konrad Baumann: Pilgrimage Church Mussenhausen , p. 14.

Coordinates: 47 ° 59 '15.4 "  N , 10 ° 26' 6.9"  E