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Evangelic-
Lutheran St. Nikolai Church Burg / Fehmarn
County:
Ostholstein
Land: Schleswig-Holstein
Translated
from the German to English by: E. Bügge-Wood
Site
and history of the church:
Since
1963 the island Fehmarn is connected to the mainland by the ‘Fehmarnsund-Bridge’.
Already in olden days the tall church steeple served in guiding the many ships
into the right direction, to-day the St. Nikolai Church in Burg serves as guide
in directing the many tourists that come to the island.
While on the mainland, (now Ostholstein),
the holy vicar (Vicelin) did his
Christian missionary work, Christian indoctrination on the island Fehmarn began
toward the end of the 12th century and was done by the “Odense”
bishopric, on the Danish island of Fuenen, as the high orders for this, may at
that time have come from Rom,
while
building on the island Fehmarn it’s first strict Christian bridge-head (Brückenkopf),
this was originally documented in 1198 as the ‘Peter and Paul Chapel’;
mentioned in the Puttgarden / Fehmarn vicinity. Until 1204 this chapel may have
been the only Christian chapel on the island Fehmarn. It is possible that around
the year 1230, during the reign of the Danish King ‘Waldemar the Victor’,
construction of a new church in Burg / Fehmarn began. First mentioned in the now
largest town of the island, in the Burg
archives of 1231. The name ‘Burg’ derived from the old country- or
land-stronghold of Slavic origin, which was once situated on the grounds, where
now the elementary- and main school stand, in the Ortstrasse of Burg.
The
inner lake ‘Binnensee’, toward the
East, was used as a harbor until the 15th
century (this was also documented), the lake area became filled with
sediment and was replaced with a new harbor at the ‘Neue Tiefe’ site. As a
protective defense, a stronghold was erected at the start of the 13th
century, on the small peninsular near the ‘Binnensee’
at ‘Burgtiefe’ and was called the stronghold Glambeck ‘Burg Glambeck’,
this stood until it’s destruction. During the 30-year war it served as the
seat of “Danish and Lübeck” authoritative councilmen. On a terrain of 38 x
54 m, a rectangular structure was built, surrounded by a moat, (archeologically
researched and dug out). The Middle Age town of Burg had a ground floor, in the
form of a street market settlement and is since 1329 a town, ruled by the courts
of the Hanseatic city of Lübeck, called (lübsche law). Agriculture and shipping gave the island a certain
wealth through the centuries, which can be seen even to-day in their well-kept
churches, this is mostly preserved, and reflected in the interior of the
different churches on the island.
Construction
history - and description of the exterior of the church in Burg.
The
St.- Nikolai - Church is a tri-nave, vaulted hall-like church, in the transition
period it became Romanesque and later Gothic in construction, this can be
distinguished in the different construction phases. The oldest parts of the church, we can notice the three west naves of the long house (A). Still very visible below the
roof’s ridge of the rotunda frieze, the rounded windows still show in the
masonry.
Photo:
Epitaph of the mayor David Gloxin and figurine of the holy St. Anthony Eremite.
In
later times it became Gothic and the windows were pointed, this tells a bit of
the construction of the church. The props for the pillars are not original and
may have been added later to the church’s wing, for support of the tower in
stately manner. The south portal [with pointed arch], entered into the south
wall, is staged and shows itself by laid-in round staves. Two further portals
are located on the north side.
The
second, late Gothic construction period
(B) took place during the 15th century. Construction was extended
toward the East, where the middle nave and the side naves were widened. It shows
on the outside by the different height of the roof. Uncertain is, whether during
this second construction period the choir stall was integrated ,like the
churches in Neustadt and the St.- Nikolai-church in Kiel were built, or was it
during this extended construction a boxed in choir stall?
The
third construction period (C) took
place after 1505. The middle- and the two side naves received an added sixth
wing, where an apse [projection] was added.
On the tip of the choir stall ending they added a small roof-like
extension with a “bell”. On the northern 5th vault of the side
nave, in 1506, the so-called “mortuary”
(Likhus)(D) was added, to-day it
serves as a meditation room with added decorations in the gable. Also a chamber
for the pastor’s attire was added called the vestry (Garvekammer) (E), this
was later changed into a grave chamber and in 1842 torn down; it took away the
attention from the still intact, adjacent circular staircase. Another chamber
was situated at the north side of the tower, the so-called bone or lime-room “Kalk- oder
Knakenkammer”(F). This room was used as bone room and was torn down in
1935. In the corner from the side wing, toward the tower, (the base of the
structure is still visible).
The
outer eastern wall of the mortuary “Likhus”
is decorated in hewn Gothic stone with inscription as the “Fehmarn Memorial” (1) from May 22, 1425. “In 1420, after King
Eric [The Pomeranian] destroyed Fehmarn, and 85 years later the choir stall was
built, with six hooded cross vaults, one year later the mortuary “Likhus”
was added on, as well as the vesture (Garwekammer),
organ works and all the pews were built.
Hans
Wolde(r?) and Hans Gudemann were in charge.
May
God bless them and all the people who helped in this endeavor!
St.
Blazes-Altar, 1513.
The
tower (G) The
first tower of the church must not have had the same circumference nor the
height as the tower of today, but may have fit the proportions of the west wall
in the church nave. It shows by the built-in windows in the west-side nave, that
extends to the wall of the tower and with it appears asymmetric, [out of
proportion].
The
construction of the, now mighty square bell tower, began in the year of 1513. It
goes into the 3rd construction period. The substructure, as well as
the According
to the spirit of the ages, the demolished
The
bell housing in the Saint Nikolai Church has now four bells, of which the oldest
one is named “Mary Magdalene” and was installed in 1462. Aside are the many
enumerated Saints, on the edge of the bell skirt are some relief paintings of
the Madonna with child ‘the baby Jesus’, the Holy Nicolas and the apostle
Philip, Bartholomew, Jakob and Thomas. When the visitor steps into the interior
of the church and goes toward the bell housing of the church knave, (into a
pointed curved portal, the upper field, like a Typanon), one can view it as a
mosaic, the Patron Saint of the shippers, ‘Saint Nicolas’.
A
Tower Clock
in the Nikolai Church has a long tradition. Short after the building of the
tower, in the year 1524 there is mention of a clock-indicator maker, (Seygermaker,
Dutch) [Zeigermacher, German]. The tower clock of to-day was delivered by a
firm J.F. Weule from Bockenem in 1886.
The
interior of the Church.
Although
the high-rise of the exterior of the church
under
the pointed saddle roof, suggests a high interior, this effect is rather
concise. The square crossbeams of the middle nave from the first construction
period are with high vaulted, cross-ribbed, arches overstretched. The side wings
are half as wide. The mighty weight of the arched vaults rests on profiled
foundations. To mention are the brackets of the 2nd crossbeam, in
which the vault ribbing extends. They show a person as well as three leaves.
Plain pillars in rectangular form, carry the weight of the brackets of the 2nd
construction period. In the eastern pair of pillars, left-over Gothic walls,
from the early choir stall are still recognizable. Thin pear-shaped ribbing and
-girth enliven the architecture.
The
triumphant group of crosses [Exaltation of the cross]
The
entire length of the church, including the tower is about 61 m, the width about
18 m and the height of the vaulting 9 - 11 m. The inner room offers a special
expression with it’s illuminating paintings, still noticeable in the west
part, and date back to the original construction period. On the white-washed
walls and pillars, in the area of the church nave is a minuteness effectuation
of red-lined ashlar (a hewn or squared
stone). With the colored withdrawal, the girth and ribbing is made rather
visible. In the Gothic part, where the vaults were enriched with interlaced
ornamentation, while the choir stall had decorated window enclosures with
ornamented paintings. At the hood of the vaults in the middle- and side naves,
there are still lilies, insignias and different figurines visible. On the wall
of the choir stall several crosses are painted, which remind of the
commemoration of the choir stall. The floors in the church nave, during the
great renovation of 1846 had hexagonal tiles installed. Of the many original
grave stones, [mainly from the 16th and 17th century],
only a very few were kept.
Tour
We begin our tour in front of the church. On a free surface, north of the tower
is a bell (2) made of steel, it was
cast in 1920 by the firm Ulrich and Weule in Apolda-Bockenem. Until 1956 it had
it’s place in the tower and then was replaced by a bronze bell.
In
the hall of the tower, above the door to the church nave, hangs an expressive Triumpfant
group of crosses (3) from the time of about 1500. While the figurines Mary
and John are original, the cross was added by the artist Georg Matthiesen in
1939 - and in 1949 greatly replenished (cross endings with evangelistic symbols
encircling the cross beams, giving it the luster.) The back side of the cross
shows a painted Christ.
The
Madonna on the moon’s sphere, dates back to the beginning of the 16th
century
The
almost life-size body of Christ on the cross, is in line with all the Gothic
triumphant crosses of North Germany. In the picture of 1846 it is revealed, that
the group once stood between the third pillar-pair in the triumphant curvature.
The bell housing is separated from the church nave by a porch
(4), which was built out of an old church pew. Other rebuilt
church pews (4) form the other porches at the rest of the doors on the
south- and north walls. The coat of arms, and the heraldic inscriptions belong
to previous owners. Besides the restored paintings in the vaulting, also other wall
paintings (5) were uncovered during the restoration.
The
first pillar, on the west side shows a sketch-like copy of a cross, toward the
middle hall, where Paul stands holding the sword and Peter with the key to
paradise, recognizable under the cross. On
the west side of
the side naves, each shows an impression of a
stone plaque (6). In the 2nd crossbeam of the northern side nave
hangs the epitaph of Benjamin Gloxin (7),
dated 1658. It reminds one of the youngest son of the mayor David Gloxin. He
studied law in Jena and died here very young. The portrait shows him in his
youth of 27 years. In the adjacent Gothic door [built shut] hangs a new cross,
with a late Gothic corpus(8) from the
15th century. To the right hangs the epitaph of Johann
Conrad Oporinus (9), a small oval platelet with a beautiful carved garland
and insignia dated 1684. Oporinus was cantor in the nearby Bannesdorf church and
died in Burg at the age of 81.
Next
to the main altar we see the St.
Blazes-Altar (10) in the third crossbeam of the northern side nave,
belonging to the main attractions in the Burger church. The
late Gothic, winged [or paneled] altar was built in 1513 and has survived
through the years as the only one of all the [once eight] side altars, which
were placed originally before each pillar. The Holy St. Blaze, during ‘the
persecution of the Christians’, at the hands of the Roman Emperor Laciness in
the year of 316 A.D., where he suffered the martyr’s death. He was the bishop
of Sebaste in Armenia and performed many miracles. While a child was choking on
a fishbone the Holy St. Blaze saved his life and since then was called the
patron Saint in throat illnesses. Graphic illustration on the side platelet
shows him suffering the martyr’s death. Above left: The arrest of the holy St.
Blaze. Above right: The holy St. Blaze in the dungeon. Below left: The Martyrdom
of the holy St. Blaze, when he was beheaded. In the center of the shrine, below
the Gothic canopy, from left to right: the holy St. Blaze, the arch angel
Michael, the evangelist Matthew. The painted ‘Predella’
(Foundation of an extended Altar) shows: Jesus as a world judge, sitting on a
rainbow, on his side, Mary and John; to the left, an angel with the palm branch
[sign of peace] at the entrance for the ‘saved ones’,- to the right an angel
with a blood-red sword, standing at the entrance of ‘purgatory’, [hell].
Above the altar a vaulted canopy with pictures, from right to left: the holy
Peter with the key to heaven, Madonna and the infant Jesus, Saint Paul with the
sword. At the closed, movable altar, on securely installed platelet, the
following saints come into view: to the left a picture of: Anna Selbdritt, to
the right: the holy
Antonius with the T-cross [pilgrim’s cane], the pig and the beggar’s
bell, to the outer right, the holy apostle Jacob the elder, with the pilgrim’s
cane, pilgrim’s hat and the pilgrim’s bag. The renovation and restoration in
the year 1952/53 brought a realization, that the securely fastened platelet with
the picture of the apostle Jacob the elder and the canopy are younger than the
painted (Foundation of an altar extension) and the shrine. The left
platelet is not there anymore.
Johannes
with chalice, 16th century.
Folding
[or paneled] altar: dated the last part of the 14th century.
From
left to right, upper row:
1.) Jesus with his disciples in the garden.
2.) Betrayal by Juda.
3.) Jesus appears to his disciples.
4.) Christ in ? Not legible ?andoria**
5.) Last Supper.
6.) Jesus in hell.
7.) Jesus appears to Mary Magdalene.
from
left to right, bottom row:
1.) The torture.
2.) Jesus with Pontius Pilate.
3.) Pieta, Jesus on Mary’s lap, grieving.
4.) Jesus on the cross with Mary and John.
5.) Simon from Kirin helps Jesus carry the cross.
6.) The resurrection of Jesus.
7.) The burial of Jesus.
East
of the Saint Blaze altar the widening of the church nave began, during the
second construction phase. At the fifth crossbeam the chamber for the mortuary “Likhus”
(D) was added, today it serves as the meditation chamber. Above the entrance
door leading to this room, on a flat surface where a Gothic window was built
shut, comes a painted Muriel (Wandmalerei)
(11) in view, it shows the patron Saint Nikolai of this church, and above it
the holy Christopher with the Christ child on his shoulder, holding in his one
hand the sign of the world rule, a ball with a cross on it. It is sad but when
the restoration was being done, the painting could not be salvaged. The square
meditation chamber from the year 1506 is arched with a crossbeam vaulting. In a
nook ( once a door, where the room could be entered from the outside) stands now
a small folding altar (Klappaltar)(12).
The
crucifix, which is an ornate part of the center, is Gothic and dates back to the
14th century. The shrine and the accommodating figurines: Maria and
Johannes are new and were added by the artist Georg Mathiesen from Glücksburg.
On the wings are the seven last words of Christ on the cross, painted in
antiquated low German.
Across
from the altar on the west wall stands a small pastor’s chair (Predigerstuhl) (13), the
door dates back to the year 1585.
In the church nave, on one pillar, across from the porch (Windfang) 4), dating back
to the 18th century, hangs the figurine of the beautiful
Madonna on the moon crescent (14).
This is a late Gothic work dating back to the 16th century. It
originally belonged to an older altar, which was ruined in 1846. It is to
mention that the wooden sculpture of the Madonna did not have her foot on the
snake’s head, as is often the case, (to portray the evil), instead the foot is
on a real evil appearing human being. 1939 - 49 the figure received a new shrine
from the artist G. Matthiesen, in Gothic tracery with a radiant wreath.
On
the next pillar, toward the center hall, stands a chancel
(15) dating back to the year 1557. This is a gift from the pastor and church
inspector in Burg: Matthias Lobetanz. The pastor’s chair is the art work and
style in “holland baroque” in a raised choir gallery. The pulpit basket is
separated by pillars without any pictures or figurines in the fields. The only
picture visible is the presence of a dove under the hexagonal sound lid, (as
symbol of the Holy Ghost).
The
chancel pillar has a so-called poor-box
placed infront (16) “Armenblock”. The case is kept for save keeping in an iron-clad
box with locks. In olden days each Sunday money from the collection bag was
emptied into the box. The poor box was opened once a year and the money given
out.
In
the northern side nave stands a baptismal
made of Gothic stone (17), in the shape of a goblet. The base has been
replaced. The oldest part on the top, shows of Romanesque and the other part
Gothic works. The carved edge on the goblet shows mask-like faces. Above the
baptismal hangs a votive ship (Votiveschiff)
(18), with three sails, representing a Hanseatic vessel, built by a master
‘Griephan’. The ship could be a replica to represent the patron St. Nicolas,
protector of the shippers, from whom the church received it’s name.
Folding
altar in the mortuary
“Likhus”, crucifix
dates back to the 14th century.
The
drain outlet in the east wall,(Piscin) (19), served during the catholic days as drain pipe for the unused
holy water or during baptism. Alone the windows in the choir rooms show
picturesque motives, whereas in the window openings of the side naves, rhombic
lozenge-shaped clear window glass are filled in. The left window (20) dating back to the year 1915, shows the birth of
Christ. In the center window (21) a
crucifix of Jesus on the cross can be seen. (A gift from the Burg congregation
to the church in the year 1917, in memory of the 400 year anniversary, also the right
window (22), is also dating back to the year 1917. The entire face of the
choir stall is taken up by the main altar
(23), a Gothic carved altar from the 2nd halve of the 14th
century. The broad, partly renovated shrine, with wings, filled with reliefs of
Lenten- and Easter-scenes. The middle field, in the upper section, shows Christ
as world judge in the “Mandorla” [almond-shaped Holy figure] and underneath
it the crucifixion. The back walls of the side wings may have also at one time
had picture programs on it; today they are painted over with red-brown paint.
In
front of the altar is a wooden tympanum (architectural panel), this is also made
by the artist Georg Matthiesen. In view comes an arbor vitae (a tree of life),
out of the branches sprouting the four evangelists: symbolically, Matthew, as
(human), Luke as (steer), Mark as (lion) and John as (eagle). Out of the crown
steps Christ, the lamb of God with the sign of glory, the cross. A stone covered
with the cross (which can be removed). Behind it a strip of lead, wrapped in a
piece of cloth and kept as a “relic”, (an object esteemed and venerated
because of association with a saint or martyr). The 45 cm high altar chandelier,
yellow brass, in late Gothic style. The south eastern side nave, decorating the
wing with it’s many historic artifacts. In four glass recesses, stand wood
carved holy figurines from the 15th
and 16th century: Mary
Magdalene (24) with the embalming- or anointing container, from the early 16th
century, in the attire of that period; Antony, the recluse (25) with pig, book and T-stave, from the early
16th century;
Mary without child(26),
Bronze
baptismal from 1391
Votive
ship
out
of the early 15th century, the crown is only partly there, also the
hands are gone. A better view should be to the pleating of the gown; the Apostle
John (27) with the chalice, from the 16th century.
The
center point of this part of the room is a hexagonal Gothic bronze baptismal (28), in the shape of a chalice from the year 1391,
of Lübeck (luebscher) origin, (could
also be of Italian origin and circles). About the historical beginnings of the
baptismal, is a Latin inscription found on the edge of the fountain. It says:
translated: “In the year 1391 this baptismal was given to me by: Beno Korp,
Bishop from Arosia.”
(Im
Jahre 1391 gab mir diese Taufe Beno Korp, Bischof von Arosia [german]). It
was suggested that it may have meant the Danish Aarhus, but this was wrong,
there was no Bishop by that name at that time. A Bishop “Bono” did exist
around 1391 in the Swedish city of ‘Västerås’, also called Arosia during
the Middle Ages.“
It
has never been totally clear how the baptismal came to the town of Burg and in
this church. It’s foot rests on three lions, as a sign of strength, and might,
which the baptized receive during baptism. The walls are decorated with six
relief figurines under Gothic canapés, which spread like veil over the
sceneries. Clearly recognizable are: Mary with babe, the baptism of Jesus in the
river Jordan by John the Baptist, as well as four apostles, although their
attributes are missing. It shows Peter [recognized by the hair line] and the
other is Paul. The way the hands are situated, may suggest that a key was once
held in one hand and in the other a sword. The identity of the other two
figurines is not established. The wall on the south side-nave is decorated with
epitaphs,
which
hang on the pillar’s projection. The eastern reminds of Henricus Maes (29)(*[born] 12.7.1584 - + [died] 3.9.1629), who
stood in service in the church of Burg. The plain Renaissance frame with pillars
is done in different colors. In the painting is the donor with his family under
the cross. Crowned is the memorial with a triangular gable with a picture of
Jesus, blessing the people. Beside the epitaph of Mr. H. Maes hangs the one of
the mayor: (Claus Pries)(30) Between
the pillars (in late Renaissance works) a painting of the funeral of Christ. The
crowning shows in a round onset the donor’s portrait, assisted by angels; on
the top the resurrected Christ with loin cloth. In his hands he carries the
cross and the ball of the earth in brilliant shine that, representing sun. Then
follows the epitaph of Carsten Ralof (31)
from the year 1651. Between the pillars domineering a large portrait of the
donor married couple in the original attire of the 17th century. To
the right and left two figurines of virtue, with their attributes: a cross and
an anchor. On the broken curved bow stands, majestic and blessing, Jesus with
the world sphere, accompanied by angels with palm leaves. Then follows the
epitaph of Frentz Rauert (32) of the
year 1713. Late baroque reminiscence identify this epitaph, made by G.
Brusewindt from Lübeck. Over a strong offset of a grave memorial base, flanking
with carved figurines of virtues with chain and anchor, cherubs and an angel
with a trumpet [the trump of doom], are crowning the statue. Acanthus decoration
shows the beautiful portrait of a boy names Hans,
who,
according to the church archives drowned on June 26.1715 near the “Staaken”,
he was only 10 years old, was soon rescued and brought home by the sound of the
church bells.” Next to it hangs the Epitaph
of the mayor David Gloxinius (33) from the year 1647/48. It is done by Cleus
Heim and is an extra ordinary piece of art by this master, done in his late
years. The articulate work, jointed with four free pillars, frames the center
field with the painting of the donor to the side, between the pillars and in
front of the carved artwork of the evangelist’s figurines. In the framework
and in the cartridge case liven Venetian figurines cherubs enhance the artwork.
Old Testament figurings and a Christ in the moon crescent, who holds up his
right hand with, stretched-out index finger, warning the world, this gives the
main impression of this epitaph. On the other side of the Gloxin Epitaph stands
on a base, near a pillar with a view toward the East, a life size statue of the
holy St. Anthony, Eremite (34). It is
180 cm. high, carved of wood and is of the 15th century. The strong
posture, the many pleats in the garment, the T-shaped Anthony-cross, book and
monk’s cloak give this figure the majestic look. In the chest is a small
carved cavity, where maybe it carried a martyr’s relic, at one time.
A
view of the organ prospective, 1662-64
The
pipe organ (35)
The west wall, in tower width, is the most decorative, large scale organ
prospective. Originally done in the years 1662 - 64 for the city church in Glückstadt
on the Elbe river. It was built by Berend Hueß in Celle. (The organ was built
in Glücksstadt and had been replaced by a new one) in the year 1940 for 1,000.-
RM, by recommandation, was sent to Burg. The master Karl Schroeder [Tischlermeister]
and his journeymen changed the prospect to fit the organ construction
consignment for the St. Nikolai-Church. On advise of the church painter Karl
Fey, the housing was done in color, to white and gold in the prospective parts
and the figurines supported the entire general impression of the instrument. The
three mighty pipe towers are on the top, worked with ******
edited
to here ......> delicately styled veils, which are crafted to appear as two
human beings, looking at each other. The towers are carried by angels, on their
wings all the weight of the large pipes rest. Out of the pipes openings come the
golden flame-like tongues. The main works of the organ 1st placed to the rear.
The advanced rear positive reapplies the veil among the pipes, from the tower,
but in very simplified form. On the top to the right King David with the harp
and to the left the music making angels with their horns. Begrenzt wird der
Prospect von smal, built in statues, on which the angels stand with open note
books of music. The real instrument dates back to the year of 1975 and was built
by the organ builder company Kleuker, in Brackwede/Westfalia. It has two tables,
one up on the organ platform with one mechanical and one driven down in the
church, with electric playing structure. The built in disposition of 30 sounding
registers, 2 manual/Pedal as well as several technical playing aid that assist
in the different sounds in the organ music and playing technic. At the end we
want to remark on the ends of the church pews, that are decorated with 110
escutcheons and House markings, mostly out of the 17th century;
dating back to the history of the island Fehmarn, ethnic background of Burg as
well as the history of many families of the island Fehmarn. In 1939 the wood
carver artist Georg Matthiesen began with this impressive art work. Hans
Guenther Schneider in assistance and works of Pastor Matthieas Wiechmann.
Legend
to the floorplan
A
I. Construction period: about 1230/50 (Romanesque/later toward the Gothic).
B
II. Construction period: 15th century. (Late Gothic).
C
III. Construction period: after 1505.
D
Mortuary “Likhus”, 1506.
E
“Garvekammer”
(Sakristei), torn down in 1842;
F
“Knakenkammer” (Bone house), torn
down in 1935;
G
Tower, 1513, (18m higher than now) 1760 blown down, 1763 in Baroque style
rebuilt.
1
Fehmarn Memorial
2
Bell before the church
3 Triumpfkreuzgruppe
4 Porches (made from old church pews)
5 Wall paintings (the crucifixion)
6 Stone platelet with insignias
7 Epitaph B. Gloxin, 1658
8 Crucifix, Corpus 15. Jh.
9 Epitaph Oporinus, 1648
10 Blasius Altar, 1513
11 Wall painting above door to the mortuary
12 Altar in meditation chamber
13 Pastor’s chair, parts from 1585
14 Madonna on the moon sphere, 16th century
15 Chancel, 1667
16 Poor box, “Armenblock”
17 Baptismal. Gothland Stone
18 Votive ship
19 Piscin (sink)
20 Choir window (birth)
21 Choir window (Crucifix)
22 Choir window (Resurrection)
23 Main altar, 2nd half of the 14th century
24 Figurine of Maria Magdalena
25 Figurine of Saint Antonius, Eremit
26 Figurine of Maria without child
27 Figurine of the Apostel Johannes
28 Bronze baptismal, 1391
29 Epitaph H. Maes, about 1600
30 Epitaph C. Pries, about 1630
31 Epitaph C. Ralopf, 1651
32 Epitaph F. Rauert, 1713
33
Epitaph D. Gloxin, about 1650
34 Figurine of Saint Antonius, Eremit, 15th century
35 Organ (Prospekt 1662 - 64)
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