20의 콜핀가지 명소 & 주요 장소

We go to the museum in the old stables, the exhibition begins with horse breeding and keeping. This is followed by an insight into winemaking and wine pressing. With many exhibits around us, we also learn something about the art of weaving, with traditional costumes and shoemaking on display. In one room, the whole history of the castle, the town and the period surrounding it. Finally, a look at the Biedermeier period, we leave the exhibition, walk through the gate and leave the castle. Here is our entire hike https://youtu.be/sCNikq-kH-Q

Church tour to Feldberg from Neubrandenburg.

is the windmill town, we have eaten and celebrated several times in one of the mills. Recommended.

Another highlight of the beautiful city after the castle.

Windmill town of Woldegk – real blades are still turning here on three of a total of five windmills that have been preserved.

On one of the highest mountains in Mecklenburg-Western Pomerania, the Woldegker Mühlenberg, there are still three windmills standing close together. From the cobblestones of Mühlendamm, it is the "Mühlenmuseum" mill that draws everyone's attention. It is a windmill over 100 years old with white canvas on the mill blades. It is the last Dutch windmill in Mecklenburg-Western Pomerania where the sailcloth-covered mill blades still turn in the wind. Inside the windmill, 5000 years of grain processing are shown and invite children in particular to try them out. Windmill models on a scale of 1:50 provide information about 900 years of windmill development. The Beschüttboden offers a unique view, because only from here is it still possible to see one of the four other windmills in Woldegk from each window. If there is not a south-west or north-west wind, you can see the city, the lake and the Helpter Berg, at 179.1 m the highest elevation in Mecklenburg-Western Pomerania, from the Windrosenbock. (Source: https://www.windmuehlenstadt-woldegk.de/muehlenmuseum-woldegk/ on October 14, 2022)

The church is an elongated, muddy, essentially medieval building with a recessed, square west tower. It was brought into its current condition through renovations in the second half of the 18th century and the end of the 19th century. The building was once a three-bay basilica made of field stone with a transverse rectangular western building around 1225/1250 and a rectangular brick choir the width of the central nave with an eastern group of three windows, corner pilaster strips and triangular frieze under the gable from the second half of the 13th century. After fire damage in 1588, 1709 and 1758, the side aisles were demolished, arched windows were installed during repairs in 1765–1770 and the interior was converted into a flat-roofed hall after the triumphal arch was removed.

The church is an elongated, flooded, essentially medieval building with a retracted, square western tower. It was brought into its present state by modifications in the second half of the 18th century and at the end of the 19th century. The building was once a three-bay basilica made of fieldstone with a transverse rectangular west building from around 1225/1250 and a rectangular brick chancel the width of the central nave with an eastern three-window group, corner pilaster strips and triangular frieze under the fascia gable from the second half of the 13th century. After fire damage in 1588, 1709 and 1758, the side aisles were removed, basket-arched windows were used during repairs in 1765-1770 and the interior was redesigned as a flat-roofed hall after the triumphal arch had been removed. In the years 1892/1894, the west tower was completely rebuilt according to a design by P. Köppel with a base made of granite blocks, the upper floors and architectural details are made of brick. In 1958, the former arcade openings were partly made visible as screens with the remains of the original octagonal pillars and some of the narrow pointed clerestory windows were opened. The pulpit altar with wooden enclosure was created in 1770; the column-flanked structure has rococo ornaments, carved figures depicting Moses and John the Baptist are attached on both sides of the pulpit basket. At the same time the boxes and galleries were created. The granite baptismal font with three plastic heads dates from the 13th century. The baptismal bowl from the second half of the 17th century is an example of an embossed brass bowl with Adam and Eve in the background, on the rim a unicorn, stag and dogs are depicted between tendrils. The organ is a work by Barnim Grüneberg from 1906 with 13 stops on two manuals and pedal. There is also a gallery organ from the company Nussbücker from 1985 with five registers on a manual and pedal. https://de.wikipedia.org/wiki/Stadtkirche_Burg_Stargard