Ebrach Monastery

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Ebrach Cistercian Abbey
Ebrach Monastery
Ebrach Monastery
location GermanyGermany Germany
Bavaria
Lies in the diocese Archdiocese of Bamberg
Coordinates: 49 ° 50 '49 "  N , 10 ° 29' 39"  E Coordinates: 49 ° 50 '49 "  N , 10 ° 29' 39"  E
Serial number
according to Janauschek 		28
founding year 1127
Year of dissolution /
annulment 		1803
Mother monastery Morimond Monastery
Primary Abbey Morimond Monastery

Daughter monasteries

Rein Abbey (1129)
Heilsbronn Abbey (1132)
Langheim Abbey (1132/33)
Nepomuk Abbey (1145)
Aldersbach Abbey (1146)
Bildhausen Abbey (1158)

Ebrach Monastery as a whole

The monastery Ebrach is a former Cistercian - Abbey in Ebrach in Bavaria in the Roman Catholic Archdiocese of Bamberg .

history

Gertrud von Sulzbach; Grave slab in the monastery church Ebrach

The monastery was founded in 1127 as the first Cistercian monastery on the right bank of the Rhine in Germany by the brothers Berno and Richwin, Franconian nobles, in the wooded valley of the Middle Ebrach and subordinated to the mother monastery of Morimond . The founding legend of the monastery tells that a boar showed the monks where to found the monastery by snatching the abbot's staff from them and dropping it on the site of the later monastery. Abbot's staff and boar therefore appear repeatedly in the abbot's coat of arms and to this day in Ebrach's municipal coat of arms . The founding convention consisted of twelve monks and the abbot Adam . The later Staufer King Konrad III is also a co-founder . named, whose wife Gertrud in 1146 and son Friedrich in 1167 were buried in the first monastery church in Ebrach, consecrated in 1134. It was located in the area of ​​today's southern aisle.

Ebrach, abbey church portal with sheet masks

Under Abbot Adam, who was an influential figure in ecclesiastical and secular circles and a confidante of St. Bernard of Clairvaux , the monastery flourished. Six daughter monasteries were founded: Rein Abbey (1129), Heilsbronn Abbey (1132), Langheim Abbey (1133), Nepomuk Abbey (1145), Aldersbach Abbey (1146) and Bildhausen Abbey (1158).

The construction of the current (second) church, the foundation stone of which was laid in 1200 and which was consecrated in 1285 by the Würzburg bishop Berthold II von Sternberg , is considered the climax of the medieval development of the monastery .

Extensive donations from the Franconian nobility made the monastery prosperous. So the burgrave of Nuremberg gave Friedrich III. and his son Johann I. the monastery with various estates, as well as Count Heinrich and Friedrich von Castell , but especially Ludwig von Windheim, who transferred his possessions in Burgwindheim to the monastery . Most of the monastery's benefactors found their final resting place within its walls.

At times over a hundred monks belonged to the monastery, 37 of them were appointed as abbots in other abbeys, and two became bishops. Early 14th century built by the Cistercians of the monastery Ebrach in Nuremberg directly next to an existing Carmelite monastery one Ebracher Hof mentioned Pfleghof . In 1480, this property was also given a St. Michael's Chapel. There were other Ebracher courtyards of the monastery in Schweinfurt , Rödelsee , Bamberg and Mainstockheim .

Ebrach Monastery was affected by wars several times. During the Peasants' War the monastery was burned down in 1525, the abbot and convent had to flee. At the end of the Margrave War in 1554, the only makeshift rebuilt monastery was plundered. A dispute with the Würzburg prince-bishop about imperial immediacy reached its climax shortly afterwards in 1556. The monastery library burned down in 1583, but was restored in the following five years. During the Swedish occupation of Franconia in the Thirty Years' War , the monastery was economically ruined between 1631 and 1634, with the church treasure hidden in Würzburg falling into the hands of the Swedish troops and being brought to Stockholm .

The former official palace of the Cistercian monastery Ebrach in Burgwindheim

With the Peace of Westphalia in 1648, peace and order returned to Franconia. A slow recovery began, which led to extensive construction activity from 1658 under Abbot Degen and his successors. Ebrach flourished in the 18th century. The castle-like baroque monastery buildings and gardens as well as numerous administrative courts in several surrounding towns and in the countryside date from this time. The most influential figure among the building-loving Baroque abbots was Wilhelm Sölner, elected in 1714, who not only built the abbey itself into the first modern castle monastery in Franconia until his death in 1741, but also had a large number of the surrounding monastery courtyards redesigned. The most magnificent example of this was the official palace of the Ebrach monastery in Burgwindheim. Ebrach experienced a second artistic high point in the 18th century under Abbot Wilhelm Roßhirt, who ruled from 1773 to 1791. Under his aegis, the abbey church received its opulent altar and stucco furnishings between 1778 and 1791.

Ebrach Abbey was dissolved in 1803 under Abbot Eugen Montag in the course of secularization . At that time, 51 monks and 10 lay brothers still lived in the monastery. In the same year the village of Ebrach and its parish were founded, the abbey church became the Catholic parish church of the Assumption of Mary. Since 1851 the remaining monastery buildings have been used for the administration of the Ebrach correctional facility . The property of the monastery was administered as the district court Ebrach .

The Ebrach vacation seminars , organized by constitutional lawyer Ernst Forsthoff , took place annually in the monastery restaurant from 1957 to 1971 , bringing together well-known scientists from various professions for two weeks for joint discussions.

Abbots of the Ebrach monastery

Monastery buildings

Upper abbey garden with monastery church
Baroque abbey buildings and lower abbey garden
Lower abbey garden and baroque abbey building
Hercules fountain
Herb garden Ebrach (2017)
Upper abbey garden with orangery (2017)

A capital find in the area of ​​the south aisle of today's church allows the conclusion that the first monastery church, consecrated in 1134, was located there. With the construction of the abbey church from 1200, the first church was built over. The construction of the abbey church began with the Michael's chapel, the altar of which was consecrated in 1207. In 1285 the abbey church with all side chapels was completed and consecrated. The monastery buildings, initially modest apart from the abbey church, were splendidly rebuilt in baroque and post-baroque styles between 1618 and 1791 after the chaos and destruction of the war in the 16th and 17th centuries.

Immediately on the south facade of the abbey church with the side chapels of Saints Bernhard and Johannes, the Katharinenkapelle, the chapel with the sarcophagus of the first abbot Adam and the Michael's chapel were added a building with conventual apartments for the monks and an identical one with apartments for the monastery officials, whereby in the monastery church the south windows were closed. To the west, connected by the former officers' apartments with stables, as a castle-like baroque three-wing complex, the abbot's apartment with the representative rooms, the staircase and the emperor's hall, as well as rooms for the monastery administration. The inner courtyard was dominated by the abbot garden and lower abbey garden with a Hercules fountain.

To the north of the abbey church on the other side of the street, the upper abbey garden with orangery , the convent garden, the Fuchs' chapel, the fish house, the brewery and the mill, each with a garden, the hospital and the apartment of the monastery forester, were grouped around this compact ensemble and the craft workshops. To the north of the inner monastery area there was the economic courtyard with garden, horse stables and large barns as well as gatehouse and upper gate. An inn with stables was just as much a part of it as a cemetery east of the church and towers towering around the monastery district.

Michael's Chapel

Building history and facility

Around 30 meters north of the first monastery church from 1134, 66 years after its consecration, the construction of the Michael’s Chapel in an east-west orientation (foundation stone laid on June 4, 1200), the altar consecration took place in 1207, and it was completed with a new type of vault 1211 or something later. Under the cross-shaped, raised choir there was initially a crypt with the burial place of the monastery founder Berno. In the 15th century, the donor's grave was moved upstairs and the crypt was used as an ossuary with access to the cemetery. The Michaelskapelle is one of the most remarkable buildings of its time on German soil, as it is still rooted in Romanesque style in its overall appearance, but shows a number of early Gothic elements from the architectural language of the Cistercians ( Burgundy ). While the Michael's chapel was still being completed, the construction of the new abbey church began with the laying down of the first monastery church.

inner space

Michaelskapelle in the monastery church Ebrach

The interior of the Michaelskapelle, the nave of which was originally separated from the chancel by a rood screen, is dominated by the choir, in which all cross ribs and the ogival belts rise from the floor on bundled services surrounded by shaft rings. In the crossing, a plate covers the donor's grave of Berno. The walls and vaults show the remains of Cistercian room decorations with late Romanesque linear painting. In the west yoke there are simple ashlar lines and vaulted fields, which in the east yoke are additionally provided with stars, lilies and rosettes. The altar is more recent. The grave slabs of the 14th century nobles (von Windheim, Lisberg and Thüngfeld) are embedded in the floor of the nave.

Former abbey church

Building history and facility

Floor plan of the former monastery church
Ceiling in the former abbey church
Central nave of the monastery church

The laying of the foundation stone of the Michael's Chapel is often assumed to be the start of construction on the main church, although this seems unlikely. The offset of the cross vault of the Michael's chapel to that of the abbey church suggests a later start of construction of the main church, which began on the southwestern parts of the choir and transept of the existing Michael's chapel and continued from there to the west and south. The course of construction of the chapel and church could be determined very precisely through a detailed examination of the stone carving marks . In its 85-year construction history, the church has essentially retained the early Gothic style from the start of construction, with the exception of the high-Gothic west facade. The historian Wolfgang Wiemer, author of most of the more recent publications on the Ebrach Monastery, reports on computer analyzes of the church's proportions, which showed that its proportions not only contain numerical ratios that were already important in antiquity, but also - because of special construction methods Outwardly not recognizable - the geometrical figures of the ancient planimetry, which contain the formal basis of the high Gothic , so were far ahead of their time.

The abbey church has a three-aisled basilica with a seven-bay nave and in the eastern third on both sides with three bay transepts and a rectangular choir with a typical classic Cistercian architecture. The transept and choir are accompanied by a rectangular chapel wreath. The church was consecrated to St. Mary, St. John the Evangelist and St. Nicholas. The hearts of the prince-bishops of the Würzburg monastery were kept in small metal chambers behind the main altar until the 16th century . Her remaining remains are buried in the Marienkirche of the fortress Marienberg in Würzburg.

When Georg Dehio is to read about the Abbey: The magnificent early Gothic construction, Germany has produced . The dimensions of the church from 87.8 to 49.3 meters are impressive.

The exterior view, which has not changed much since it was built, shows the choir and the transept protruding over the steps of the chapel wreath and gallery. The high Gothic character emerges in the west facade with the 7.6 m wide rose window based on French models as a tribute to the mother monastery of Morimond . It is a copy, the original was replaced in 1886 because it was dilapidated and has since been in the Bavarian National Museum in Munich .

Abbey church vaulted ceiling sheet mask keystone

The figureless main portal of the church is framed by naturalistic foliage. The flanking figures of Our Lady and Saint John the Evangelist were not erected until 1648. The gable of the west facade was renewed in a post-Gothic style around 1580 and its front was replaced by today's hipped roof in 1691. The only major change in the external appearance is the late baroque, dome-like roof turret made of copper-clad oak, which the Würzburg court architect Joseph Greissing built over the crossing in 1716 to replace a stone roof turret.

In the years from 1778 to 1791, the Würzburg court stucco artist Materno Bossi carried out a fundamental redesign of the church aimed at a splendid decorative effect. A large part of the sculptural work comes from the Würzburg court sculptor Johann Peter Wagner . This remodeling has changed the medieval space and, according to Georg Dehio, even " aesthetically destroyed" it . Georg Dehio's opinion, which was still shaped by the view of the 19th century, is hardly shared today. Rather, the recognition of the extraordinary achievement of having convincingly reshaped a Gothic-proportioned room in the style of early classicism now predominates. In addition, the particularly high artistic level of the artists involved should be emphasized. Decades ago, therefore, a rethinking of the evaluation began, for which the remark of the historian Heinrich Mayer may stand as an example: " Irreplaceable things have been lost, but it must be admitted that an extremely festive space was created with great taste ."

Furnishing

Chancel with high altar

Choir

The high altar, built in 1778/80, has clear rococo echoes in its structure and figures. The altarpiece of the Assumption of Mary is based on a variation of a picture by Peter Paul Rubens . It was painted by H. G. Heyden as early as 1650–1652 and adorned the previous high altar. JP Wagner created the wooden figures of the sub-zone of Saints Bernhard, Petrus, Johannes Evangelista, Nikolaus, Benedikt and Bernhard. The stucco cladding of the choir screen shows medallions with the heads of the apostles. Behind the high altar on the east wall of the church are revised epitaphs of the Würzburg prince-bishops Berthold von Sternberg and Mangold von Neuenburg. In 1650, the replicas of two sarcophagus cover plates belonging to Queen Gertrud von Sulzbach and her son Duke Friedrich von Schwaben were admitted to the south-eastern barrier .

In the two chapels to the right and left of the epitaphs are altars by J. B. Brenno from the years 1695 and 1697. The two chapel entrances were adapted in 1741 to the baroque design of these altars. The left chapel leads to the Katharinenkapelle, which is painted with scattered flowers from the beginning of the 17th century. The terracotta altar in the Katharinenkapelle dates back to 1608. The circumcision and baptism of Christ are depicted on the base, St. Catherine in the main field and St. Elisabeth in the top .

Transept

Access to the sacristy and representation of the Pentecostal miracle

The altar of St. Bernard is located on the northern end wall of the transept towards the Michael Chapel . The altar, created by Veit Dümpel from Nuremberg from 1623 to 1626, shows the body of Christ with John the Baptist and the Apostle John on four levels , in the middle the three visions of St. Bernard, above St. Bernard in front of Our Lady and at the top the crucifixion group with Maria as the crowning glory.

In the chapel to the right of the altar Bernhard Johannes altar with the main character of John, flanked by the prophet Isaiah and the evangelist Matthew , as well as crowning the Apocalyptic woman from the Book of Revelation .

In the opposite wall of the transept, the door to the sacristy is widened into a mighty portal frame, on whose balcony the disciples of Jesus stand with Mary. The Holy Spirit streams down on them. The portal known as the Whitsun miracle was created by J. B. Brenno in 1696/1697. To the right and left of the alabaster portal columns are the figures of the founder Berno and the first abbot Adam, whose sarcophagus is in the chapel to the left of the portal. Next to it is the grave monument of the last Ebrach abbot E. Montag with a relief of the Holy Trinity and a chronogram in the base, from which the year of death of the abbot 1811 can be seen. In the neighboring chapel are the monuments of Abbots L. Ludwig and W. Sölner and on the opposite wall the grave slab of the lay brother Teufel and his mother.

Central nave

In front of the transept, in the nave, there is already the monk choir with the classical choir stalls built around 1782/1784, above whose rows of seats depictions of the life and passion of Jesus can be seen. In front of the choir stalls, the folk altar by Klaus Backmund has stood in the center since 2005 .

From 1677/1682, the baroque grilles now standing under the gallery separated the monks' choir as a rood screen from the lay nave adjacent to the west, on the central nave pillars of which there are a total of four altars, which Bossi created between 1778 and 1787, but whose altar leaves date from different eras. Only the altar leaves with the depiction of Saint Jerome come from older furnishings , while the leaves of the entrance altars with Saints Sebastian and Peter and the rest on the flight were acquired after 1790. The stucco reliefs above the arcade arches to the right and left of the central nave are probably also by Bossi. They depict scenes from the life of St. Bernard and the life of Jesus. The late Rococo pulpit on the left side of the central nave was only brought there from the Himmelspforten monastery when the abbey church was converted into a parish church in 1803 .

At the western end of the nave, above the main portal of the monastery church, the organ loft with the main organ, built around 1704, rises up, the prospect of which is effectively surrounded by a large rose window . The middle section of the original rood screen, which was probably reworked in 1747 by the Würzburg locksmith JG Oegg, was moved under the gallery. On it are heraldic cartouches with a crowning knight (coat of arms of the abbot Held).

Aisles

North aisle, seen through the wrought iron rococo grille

The central part of the grille was added in 1682 to expand the rood screen by two flanks, which were also moved under the gallery in 1754. They close the aisles against the main entrance and have a fine play of lines and the coat of arms of the abbot Degen.

In the north aisle are the epitaphs of abbots and priors of the 16th century and the grave slab of the abbot Degen. The tomb of Abbot Hölein, made of alabaster by N. Lenkhardt in 1618/19, stands in the south aisle. A four-pillar structure rises above a console, in which the kneeling abbot in front of the crucifixion group and next to him the saints Jerome and Catherine can be seen. Above it appears Saint Bernard and above him an aedicula with the prophet Ezekiel and the representations of faith and strength. The tomb is crowned by depictions of love, wisdom and justice. On the walls of both aisles there are oval oil paintings with portraits from the history of the order.

Organs

Gothic rose window and partial view of the organ front of the main organ

There are three organs in the abbey church, all of which were built in the 18th century: the main organ on the west gallery and the two choir organs .

Main organ

In the 18th century the church owned an organ from the workshop of the Würzburg court organ builder Johann Philipp Seuffert . It was installed in 1742/43 in the singing and orchestra gallery, which had been in existence since 1704, above the main portal and received an organ prospect from A. Gutmann.

The Seuffert organ, which was built with 34  registers , was expanded in 1901/1902 by the Steinmeyer organ building company and converted into a late romantic instrument; around 60 percent of the original pipe material was lost. In 1984 the instrument was reconstructed by the Passau organ building company Eisenbarth with existing pipes and expanded to a large concert organ with the swell and bombbars. The instrument has 57 registers on four manuals and a pedal .

I Hauptwerk C – g 3
1. Principal 8th'
2. Flauto 8th'
3. Quintatön 8th'
4th Biffara 8th'
5. Octava 4 ′
6th Travers II
7th Gemshorn 4 ′
8th. Quinta 2 2 ⁄ 3  ′
9. Great Octava 2 ′
10. Mixtura V
11. Cornett IV
12. Cymbel III
II upper structure C – g 3
13. Principal 8th'
14th Copula 8th'
15th Viola da gamba 8th'
16. Salicional 8th'
17th Biffara 8th'
18th Octava 4 ′
19th Fugara 4 ′
20th Nassat 2 2 ⁄ 3  ′
21st Great Octava 2 ′
22nd Flageolet 2 ′
23. Quinta 1 1 ⁄ 3  ′
24. Mixtura IV
III Swell C – g 3
25th Schwegel 16 ′
26th Principal 8th'
27. Flûte harmonique 8th'
28. Pipe border 8th'
29 Vox coelestis II 8th'
30th Octave 4 ′
31. Flûte octaviante 4 ′
32. Cane fifth 2 2 ⁄ 3  ′
33. Forest flute 2 ′
34. third 1 3 ⁄ 5  ′
35. Sif flute 1'
36. Mixture VI 2 2 ⁄ 3  ′
37. Funnel dulcian 16 ′
38. Trumpets 8th'
39. Hautbois 8th'
40. clarinet 8th'
Tremulant
IV Bombarde C-g 3
41. Cornett II-V
42. Aliquots II
43. Trompeta magna 16 ′
44. Trompeta 8th'
45. Clarin 4 ′
46. Clarin 2 ′
Pedals C – f 1
47. Pedestal 32 ′
48. Principal bass 16 ′
49. Sub bass 16 ′
50. Violon bass 16 ′
51. Octave bass 8th'
52. Dacked bass 8th'
53. Viola da Gamba Bass II
54. Quinta bass 5 1 ⁄ 3  ′
55. Great Octava bass 4 ′
56. Mixture Bass VI
57. Trombones bass 16 ′

Choir organs

Choir with choir organs with a view of the high altar
Foreground: the empty case of the choir organs, background: west gallery with main organ

Primarily to accompany the choir singing, two choir organs from the workshop of the Frankfurt organ builder Johann Christian Köhler were installed in the niches opposite of the monks' choir in 1753 and 1759/1760 . The Gospel organ on the north side has 22 stops on two manuals and pedal, the Epistle organ on the south side has 13 stops on one manual and pedal. The arrangement of the console allows the organists eye contact and makes it easier to make music on both instruments as an organ duo. There are still 18 original Köhler registers in the Gospel organ and seven original registers in the Epistle organ. The mechanics are partly still in the state of construction. The number of different labial eight-foot registers, the use of characteristic reed registers and the frequent bass / treble division, which Johann Ulrich Sponsel called "two trains" in his organ history from 1771, is remarkable handed down.

In the course of the last church renovation in 2004, the two choir organs were dismantled and expanded. The restoration by the Bonn-based organ building company Klais was completed in December 2012. The two instruments were consecrated on November 4, 2012 by Bamberg's Archbishop Schick . The restoration restored the original disposition of the two choir organs in accordance with Sponsel’s information.

The larger instrument, the Gospel organ from 1759, has the following disposition:

I positive C – d 3
1. Hollow flutes (B / D) 8th' K
2. Flauto Trav (erso) (B / D) 8th' K
3. Viola Gamb: (B / D) 8th' K
4th Fugara 4 ′ K
5. Hollow flutes 4 ' K
6th Flacionet 2 ′ K
7th Krumhorn (B / D) 8th' K
8th. Vox hum (ana) (B / D) 8th' K
Tremulant K
II Hauptwerk C – d 3
9. Principal 8th' K
10. Pipe flutes 8th' K
11. Viola gamb 8th' K
12. Solicin (al) 8th' K
13. Hollow flutes 8th' K
14th Octav 4 ′ K
15th Flaut d'Amour 4 ′ K
16. Great Octave 2 ′ K
17th Mixture IV K
18th Cornett IV (D) K
19th Sesquialter II (B) K
20th Trumpet (B / D) 8th' R.
Pedal C – g 0
21st Sub bass 16 ′ St.
22nd Violon bass 8th' St.
23. Great octave bass 4 ′ K
Remarks
  1. ↑ Exit tremulant
K = Koehler (1753/1759)
St = Steinmeyer (1954)
R = reconstruction Klais (2012)

The smaller organ from 1753 on the epistle side has the following disposition:

Manual C – d 3
1. Principal 8th' K
2. Ital: slack: 8th' R.
3. Bourdon 8th' Se / St
4th Gemshorn 8th' Se / St
5. Octav 4 ′ K
6th DueFlaut: 4 ′ K / R
(Continued manual)
7th Quinta 3 ′ K
8th. Great Octave 2 ′ K
9. Mixture V K / pc
10. Fagotto (B / D) 8th' R.
11. Chalumeau (B / D) 8th' K / R
Pedal C – g 0
12. Sub bass 16 ′ K
13. Violon bass 8th' R.
Remarks
  1. ↑ Largely reconstructed register. 5 original pipes
  2. ↑ Original boots preserved; Nuts, cups etc. reconstructed
K = Koehler (1753)
Se = buffered
St = Steinmeyer (1954)
R = reconstruction by Klais (2012)

Today's use of the monastery complex

  • The monastery complex now houses the Ebrach correctional facility and is therefore not accessible, with the following exceptions.
  • The former abbey church serves as the venue for the Ebrach Music Summer .
  • The church can be visited. In the former prelature there is a small museum on the history of the monastery with precious sacred objects, writings and a model of the monastery complex around 1555.
  • The lower and upper abbey gardens with orangery are open between Easter and October.

  • Central nave vault

  • Crossing vault of the monastery church

  • Angel figure

  • Pentecost miracle, depiction in the transept

  • pulpit

  • Rose window above the main portal

  • Bay window on the monastery building

  • Name of the plasterer in a cartouche in the vault of the central nave

  • Stone lion above the main portal of the abbey church

literature

  • Adelhard Kaspar: Chronicle of the Ebrach Abbey , Münsterschwarzach 1971.
  • Wolfgang Wiemer: Ebrach Cistercian Abbey. History and art. Munich and Zurich 1992 (= Schnell & Steiner, Large Art Guide Volume 177). ISBN 3-7954-0852-0 .
  • Gerd Zimmermann: Festschrift Ebrach 1127-1977 , Volkach 1977.
  • Wolfgang Wiemer: On the history of the origins of the new building of the Ebrach Abbey. In: Sources and research on the history of the diocese and bishopric of Würzburg, Volume XL, Würzburg 1989.
  • Wolfgang Wiemer: The gardens of the Ebrach Abbey , Berlin 1999, ISBN 3-7861-1541-9 .
  • Wolfgang Wiemer: Festschrift Ebrach - 200 years after the secularization 1803 , Research Circle Ebrach (Ed.), 2004. ISBN 3-9301-0411-3 .
  • Wolfgang Wiemer: Harmony and measure - results of the proportional analysis of the Ebrach abbey church . In: JJ Emerick and DB Deliyannis (Eds.): Archeology in Architecture - Studies in Honor of Cecil L Striker , Mainz 2005, pp. 199–216.
  • Johannes Mack: The builder and architect Joseph Greissing. Main Franconian Baroque before Balthasar Neumann. (Publications of the Society for Franconian History, Series VIII: Sources and Representations on Franconian Art History, Vol. 16). Würzburg 2008, ISBN 978-3-86652-816-1 , pp. 326-375.
  • H. Mayer: Little Art Guide - Former Cistercian Abbey Church Ebrach (Schnell & Steiner Art Guide No. 274), Regensburg 1938, 22nd edition (2008) by Wolfgang Wiemer, ISBN 978-3-7954-4211-8 .
  • Wolfgang Wüst: "... in the flow of imperial directness": The Cistercian abbey Ebrach between prince service and imperial freedom under Abbot Eugen Montag (1791-1802) . In: Yearbook for Fränkische Landesforschung 57 (1997) pp. 181–198. ISSN  0446-3943 .
  • Wolfgang Wüst: Community and village rights under the Ebrach Cistercians. On the question of early modern self-determination. With the edition of the Großbirkach village order by Abbot Wilhelm Söllner (1714-1741) . In: Würzburger Diözesan-Geschichtsblätter 78 (2015) pp. 429–446. ISSN  0342-3093 .
  • Annett Haberlah-Pohl: Lutheran administrators in a Catholic enclave. The keepers of the Ebracher monastery courtyard in Nuremberg from 1744 to 1803. In: Yearbook for Fränkische Landesforschung 64 (2004), pp. 105–130

Web links

Commons : Ebrach Monastery  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g Wolfgang Wiemer: Little Art Guide - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, pp. 3–6
  2. ↑ Franconian Day , article from September 30, 2003
  3. ↑ so with Abbots Ludwig Ludwig and Eugen Montag
  4. ↑ Georg Heinrich Weigand: History of the Franconian Cistercian Abbey Ebrach , p. 19
  5. ^ Georg Heinrich Weigand: History of the Franconian Cistercian Abbey Ebrach , pp. 32–33
  6. ↑ Georg Heinrich Weigand: History of the Franconian Cistercian Abbey Ebrach , p. 69
  7. ↑ a b c Wolfgang Wiemer: Little Art Guide - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, p. 23
  8. ↑ Wolfgang Wiemer: On the building history of the former Ebracher Amtshöfe Sulzheim, Elgersheim, Oberschwappach and Burgwindheim . In: Reports of the Historical Association of Bamberg . tape 126 . Bamberg 1990, p. 423-503 .
  9. ↑ Johannes Mack: The builder and architect Joseph Greissing. Main Franconian Baroque before Balthasar Neumann . In: Publications of the Society for Franconian History, Series VIII: Sources and representations on Franconian art history . tape 16 . Würzburg 2008, ISBN 978-3-86652-816-1 , p. 365-375 .
  10. ↑ Wolfgang Wiemer: Kleiner Kunstführer - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, p. 20
  11. ↑ Johannes Mack: The builder and architect Joseph Greissing. Main Franconian Baroque before Balthasar Neumann . In: Publications of the Society for Franconian History, Series VIII: Sources and representations on Franconian art history . tape 16 . Würzburg 2008, ISBN 978-3-86652-816-1 , p. 326-362 .
  12. ^ Thomas Korth: Leonhard Dientzenhofers Ebracher Architektur . In: Gerd Zimmermann (Ed.): Festschrift Ebrach 1127-1977 . Volkach 1977, p. 259-343 .
  13. ↑ Thomas Korth: Observations on the facades of the Ebrach abbey building from 1716 to 1719 . In: Uwe Meyer-Arend (Ed.): Barockbau Ebrach 1688-1988 . Bamberg 1988, p. 12-33 .
  14. ↑ Wolfgang Wiemer: On the history of the origin of the new building of the Ebrach Abbey . In: Sources and research on the history of the diocese and bishopric of Würzburg . tape XL . Wuerzburg 1989.
  15. ↑ a b Engraving by an unknown artist around 1803, repro also as a postcard around 1900.
  16. ↑ Wolfgang Wiemer: Kleiner Kunstführer - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, pp. 19-20
  17. ↑ Wolfgang Wiemer: Kleiner Kunstführer - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, pp. 19-20
  18. ↑ Johannes Mack: The builder and architect Joseph Greissing. Main Franconian Baroque before Balthasar Neumann . In: Society for Franconian History, Series VIII: Sources and representations on Franconian art history . tape 16 . Würzburg 2008, ISBN 978-3-86652-816-1 , p. 362-364 .
  19. ↑ Wolfgang Wiemer: Kleiner Kunstführer - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, p. 10
  20. ↑ Iris Ch. Visosky-Antrack: Materno and Augustin Bossi , in Volume 83 of Kunstwissenschaftliche Studien , Deutscher Kunstverlag, 2000, p. 131, ISBN 3-4220-6298-X
  21. ↑ Joachim Hotz: Cistercian monasteries in Upper Franconia in Volume 98 by Großer Kunstführer , Schnell & Steiner, 1982, p. 16
  22. ↑ Wolfgang Wiemer: Little Art Guide - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, pp. 12, 14
  23. ↑ Wolfgang Wiemer: Little Art Guide - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, p. 16
  24. ↑ a b c d Wolfgang Wiemer: Little Art Guide - Former Cistercian Abbey Church Ebrach , 22nd edition, 2008, p. 18
  25. ↑ Wolfgang Wiemer: Small art guide - Former Cistercian abbey church Ebrach. 22nd edition, 2008, p. 17.
  26. ↑ For disposition ( Memento of the original from December 26, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.singkreis-stotto.lauf.de
  27. ^ Johann Ulrich Sponsel: Organ History. George Peter Monath, Nuremberg 1771, p. 133 ( online ), viewed April 7, 2011.
  28. ^ Johann Ulrich Sponsel: Organ History. George Peter Monath, Nuremberg 1771, p. 134 ( online ), viewed April 7, 2011.