Ebrach Abbey is a classical example of early Gothic Cistercian architecture.
It is a three-aisled cruciform basilica.
The transept ends in the east at four chapels, another twelve surround the choir.
The exterior today mostly retains its original appearance (although a wooden tower was added in 1716), but the interior was significantly changed in the 18th century.

The late 13th-century west façade features a Gothic portal flanked by statues of the patrons Mary and John the Evangelist, added in 1648/9.
Above the portal is a large rose window (ca.
1280), with a diameter of 7.6 meters, inspired by the north window of Notre Dame de Paris.
The original window is today in the Bavarian National Museum, but the replica is a very close copy.

The interior of the church was changed in the later 18th century, in French Neoclassical style.
Materno Bossi created the stucco designs.
He added Corithian columns, a Neoclassical sill and covered the Gothic vaulting rib with stucco garlands.
Walls and ceiling were covered by white and yellow stucco.
Stucco reliefs show scenes from the life of Jesus (nave) and from the life of Bernard of Clairvaux (choir).
Oil paintings on the walls of the side aisles show saints or beatified members of the Cistercian order.

The altars were made by Bossi from stucco resembling marble.
The statues adorning them were made by Johann Peter Alexander Wagner.
The towering high altar features a 17th-century painting showing the Assumption of Mary, based on an earlier picture by Peter Paul Rubens.
The tabernacle shows figures of Saint Peter, John the Evangelist, Bernard of Clairvaux and Edmund of Canterbury by Wagner.

The choir contains stalls carved with wood and alabaster scenes from the life of Jesus.
Above the stalls, both sides are occupied by the organ.
The Rococo wrought-iron lattice that once divided the choir from the nave (made in 1743 by Marx Gattinger) was dismantled after the church was transformed into a parish church and the central piece was reinstalled beneath the organ gallery at the church entrance.
This gallery dates from 1704 and the organ, by J. Ph.
Seuffert, was added in 1743 (Rococo carvings by A. Gutmann).

The southern transept features a sculpture group of the Pentecost (1696, by G.B. Brenno) above a false door, flanked by statues of the founder, Berno, and the first abbot, Adam.
The stucco mausoleum is a mix of Renaissance and Gothic styles.

Access to the ring of chapels is via stucco-marble archways by Daniel Friedrich Humbach (1741), showing Saint Nepomuk (south) and Jesus with the Fourteen Helpers (north).
The chapels still contain early Baroque altars or - in the case of the Katharinenkapelle - A Renaissance altar.
At the back of the high altar are the burial monuments for Gertrud and her son Friedrich von Schwaben.
These were created after 1600 based on earlier pieces.
This is also true of the epitaphs for the Bishops of Würzburg Berthold II.
von Sternberg and Manegold von Neuenburg.
In the north wall are the niches for the hearts of the Würzburg bishops.
Due to the sacking of the abbey in the German Peasants War, most of them were destroyed or lost.

However, the hearts of Melchior Zobel von Giebelstadt and Friedrich von Wirsberg are still there.

In the northern transept stands a Renaissance altar made from sandstone and alabaster dedicated to Bernard of Clairvaux, created in 1625/6 by Veit Dümpel.
To the right of this altar is the entrance to the Michaeliskapelle with three altars dedicated in 1207 that survived the redecoration of the church.
The chapel combines late Romanesque and early Gothic features.
Since the axis of this chapel and the crypt below are not aligned with the rest of the church, these may be the oldest parts of the structure, begun before the plan for the overall basilica was finished.
Ebrach Abbey is a classical example of early Gothic Cistercian architecture. It is a three-aisled cruciform basilica. The transept ends in the east at four chapels, another twelve surround the choir. The exterior today mostly retains its original appearance (although a wooden tower was added in 1716), but the interior was significantly changed in the 18th century.
The late 13th-century west façade features a Gothic portal flanked by statues of the patrons Mary and John the Evangelist, added in 1648/9. Above the portal is a large rose window (ca. 1280), with a diameter of 7.6 meters, inspired by the north window of Notre Dame de Paris. The original window is today in the Bavarian National Museum, but the replica is a very close copy.
The interior of the church was changed in the later 18th century, in French Neoclassical style. Materno Bossi created the stucco designs. He added Corithian columns, a Neoclassical sill and covered the Gothic vaulting rib with stucco garlands. Walls and ceiling were covered by white and yellow stucco. Stucco reliefs show scenes from the life of Jesus (nave) and from the life of Bernard of Clairvaux (choir). Oil paintings on the walls of the side aisles show saints or beatified members of the Cistercian order. 
The altars were made by Bossi from stucco resembling marble. The statues adorning them were made by Johann Peter Alexander Wagner. The towering high altar features a 17th-century painting showing the Assumption of Mary, based on an earlier picture by Peter Paul Rubens. The tabernacle shows figures of Saint Peter, John the Evangelist, Bernard of Clairvaux and Edmund of Canterbury by Wagner.
The choir contains stalls carved with wood and alabaster scenes from the life of Jesus. Above the stalls, both sides are occupied by the organ. The Rococo wrought-iron lattice that once divided the choir from the nave (made in 1743 by Marx Gattinger) was dismantled after the church was transformed into a parish church and the central piece was reinstalled beneath the organ gallery at the church entrance. This gallery dates from 1704 and the organ, by J. Ph. Seuffert, was added in 1743 (Rococo carvings by A. Gutmann).
The southern transept features a sculpture group of the Pentecost (1696, by G.B. Brenno) above a false door, flanked by statues of the founder, Berno, and the first abbot, Adam. The stucco mausoleum is a mix of Renaissance and Gothic styles.
Access to the ring of chapels is via stucco-marble archways by Daniel Friedrich Humbach (1741), showing Saint Nepomuk (south) and Jesus with the Fourteen Helpers (north). The chapels still contain early Baroque altars or - in the case of the Katharinenkapelle - A Renaissance altar. At the back of the high altar are the burial monuments for Gertrud and her son Friedrich von Schwaben. These were created after 1600 based on earlier pieces. This is also true of the epitaphs for the Bishops of Würzburg Berthold II. von Sternberg and Manegold von Neuenburg. In the north wall are the niches for the hearts of the Würzburg bishops. Due to the sacking of the abbey in the German Peasants War, most of them were destroyed or lost. 
However, the hearts of Melchior Zobel von Giebelstadt and Friedrich von Wirsberg are still there.
In the northern transept stands a Renaissance altar made from sandstone and alabaster dedicated to Bernard of Clairvaux, created in 1625/6 by Veit Dümpel. To the right of this altar is the entrance to the Michaeliskapelle with three altars dedicated in 1207 that survived the redecoration of the church. The chapel combines late Romanesque and early Gothic features. Since the axis of this chapel and the crypt below are not aligned with the rest of the church, these may be the oldest parts of the structure, begun before the plan for the overall basilica was finished.
Ebrach Abbey