Heilig-Kreuz-Münster (Schwäbisch Gmünd)
The Heilig-Kreuz-Münster (from 1761 to 1803 collegiate and collegiate church of Our Lady ; colloquially called Gmünder Münster ) in Schwäbisch Gmünd is a Gothic church building with a hall choir built from around 1320 as a parish church . In terms of art history, the cathedral is significant as the original work of the Parler family and as the first large hall church in southern Germany. The nave was completed around 1341. After the towers collapsed, the completion of the entire hall church took until 1521.
The patronage moved from the start between Our Lady and Holy Cross . In 1926, Bishop Paul Wilhelm von Keppler elevated the Gmünder Münster, as it was called colloquially - as is customary in southern Germany - because of its size since its construction, to the Münster to the Holy Cross. With this step the patronage was established on the Holy Cross . As a result of the renaming, the surrounding church square was also renamed Münsterplatz .
Today the minster is the parish church of the Catholic Heilig-Kreuz-Münster parish and its location parish, the Italian parish of San Giovanni Bosco and the main church of the pastoral care unit Schwäbisch Gmünd-Mitte.
- around 1325–1341: nave
- 1351–1410: choir
- 1491–1504: Vaulting of the choir
- 1497: Collapse of the Romanesque choir-flank towers of the previous building, which are not replaced.
- 1504–1521: Vault of the nave
- 1552: Renaissance - gallery in the nave west yoke
- 1769: Baroque roof turret
14.-15. Century: start of construction and construction of the nave
The minster is not the first church to be built at this point. It was built 200 years older, most likely three-aisled, Romanesque basilica , probably corresponding in size and arrangement to the Gmünder Johanniskirche . According to estimates by the State Monuments Office, it was erected there in the third quarter of the 12th century. The towers, which were taken over for the new building until their collapse in 1497, were only added to the previous building around 1210.
The start of construction of the nave is controversial in the literature and ranges from 1310 to 1330, with the more recent literature from around 1320 to 1330. The construction was initially started under an unknown master builder, who is said to have already worked on other structures, such as the Strasbourg Cathedral or the Cathedral in Salem . The completion of the nave can be dated to 1341. The construction of the hall choir began about ten years later and is documented by the foundation stone on the north portal of the choir with 1351; its completion is dated to 1381 by wood samples. The Parler family of builders was primarily involved in this construction phase . While it is unclear when Peter Parler (presumably from Cologne) settled in Schwäbisch Gmünd, it is now assumed that this was shortly after construction began, probably between 1331 and 1333. Heinrich Parler's construction method is from the second yoke of the nave to recognize. After Heinrich Parler's death before 1372, Johann Parler took over the building. The period between 1381 and the year of consecration in 1410 was most likely only used for the interior work, the building itself already existed. At that time the cathedral had a wooden ceiling. The masks modeled by the Parlerwerkstatt on the console stones with the flowing plastic transitions of the volumes and depressions are permeated by an inner dynamic of the mass, as are the masks, which are built on the strong contrast of the tense volumes and the empty space.
15-17 Century: Vaulting, tower collapse, reconstruction, completion, furnishing
More than 80 years after the consecration, around 1491, the vaulting began, for which the master builders Aberlin Jörg and probably after him Hans von Urach came to Schwäbisch Gmünd. The great catastrophe occurred in 1497: on Good Friday night, both Romanesque towers collapse. Nobody was injured. According to a statement around 1800, the reason for the collapse was the removal of an arch that connected and supported the towers, but blocked the view into the choir. The reconstruction work on the cathedral made slow progress. In 1507 the Schreyerkapelle was completed in place of the north tower, in 1515 the sacristy in place of the south tower. In 1521 the last vaulting work could probably be completed.
In 1550 the pulpit and today's choir stalls were installed. In 1552 the stone organ gallery was built by Hans Mautz . The wooden organ front with a second gallery was completed in 1688 by Johann Michael Maucher . From this point on, there were only minor structural changes in the cathedral. The largest is the new building of the roof turret in 1769. Its existence is not documented before 1769, but several illustrations, including the Merian engraving from 1643, already show a roof turret.
20-21 Century: closure and renovation
On October 21, 1975, the cathedral was closed due to the risk of collapse after parts of the vault had come loose and fell to the ground. In the years that followed, extensive renovation work was carried out, which could only be completed in 2009. From 2020 the cathedral will be renovated again. The renovation should take ten years.
The height of the minster with the roof turret is 51 meters, with the height to the roof 22 m, the roof 19 m and the roof turret 12 m. The length of the minster is 78 m, of which 45 m is accounted for by the nave and 33 m by the choir. The width of the nave is 24 m, that of the choir 28 m.
The minster is a Gothic hall church with a hall choir. The outer walls of the nave are made of solid construction, which was rather unusual at that time, as the skeleton construction was preferred in the Gothic period , as this allowed more and larger windows, which at the same time meant more light, which was important for the Gothic spirit. The windows are designed in such a way that as much load-bearing wall as possible is available and the interior is still well lit, which is more difficult in hall churches, as the upper aisle in the nave is not present here. The upper cladding in the choir was also built as a solid construction, only the chapels in the chapel wreath, the treasury , the Schreyer chapel and the sacristy were built using the skeleton construction, which can be seen, for example, from the large windows that fill the area. The lower part of the choir consists of pointed arch arcades that support the upper aisle. The exception is the treasury, which is completely massive. From the outside, the facade is supported by buttresses , which are crowned by a pinnacle and which were built as diagonal buttresses at the outer corners of the west facade. The vault , which was only drawn in 80 years after the consecration, is used purely for decoration, which is why it was designed particularly richly. The magnificently designed reticulated vault in the choir with its elaborate keystones is regarded as a special representative of its time. The vault is supported in the interior by 22 columns .
The roof is a gable roof from the west , to which a tent roof is attached in the east, above the choir closure . The chapels of the chapel wreath have a pent roof. The choir itself is a 7/12 hall choir , which means that the front of the choir forms a semicircle with seven corners that form a dodecagon as a whole.
Another peculiarity that can no longer be seen today is related to the former towers of the minster. Despite their existence, the roof of the nave and the choir were built on the same level so that a connection was possible after the disaster. The towers were not firmly interlocked with the minster, which is seen today as an indication that the existing solution with the two Romanesque towers was not intended to last forever. In addition, this construction was the salvation of the rest of the minster. If the towers had been interlocked, this would have meant the collapse of the entire minster in retrospect.
The fact that the interior consists largely of dimensions that can be divided by three is probably not due to the sacredness of this number, as is usually claimed, but to Parler's basic size, which is probably 32 cm. The carved consoles on the north portal of the nave measure 32 cm, the window sill of the choir chapels 64 cm, and the length of many of the built-in cuboids is 32 cm. In addition, one can see that the quadrature drawing of the choir floor plan, the choir portal and the choir wall in the center contains a 32 cm square.
The minster was built from parquet sandstone , which is found in the area around Schwäbisch Gmünd, and wood. During the numerous renovations and repairs, different types of sandstone were used over the years. The largest proportion of other varieties are the Obernkirchen sandstone from Lower Saxony and the Rudersberg sandstone . In the meantime, shell limestone has also been used.
The problem with sandstone is that it absorbs water very easily and is broken down by the pollutants in the air, which is why its lifespan is very limited. In times of increasing environmental pollution, this is becoming more and more a cost factor and problem in conservation.
There are several styles in the cathedral. The nave was built in high Gothic as one of the first large hall churches. The choir with the chapel wreath comes from the late Gothic period. The design as a hall church with a chapel wreath is also known as southern German special Gothic. The minster is one of the first representatives of this. The piece destroyed by the collapse was built in the so-called End Gothic. This architectural style was built in the Renaissance style in the Gothic style, with the Gothic features also mixing Renaissance features. This can be seen particularly well in the cathedral by the stair tower next to the sacristy. The gallery was then designed in the Renaissance style, the roof turret in the Baroque style .
Altars and Figures
In the accident of 1497, 22 altars in the minster were destroyed, which allows the conclusion that there were other altars there, because only limited parts of the minster were affected when it collapsed. Today most of the altars, like the high altar , are neo-Gothic and were built in the 19th century. However, these altars mostly contain parts of the old Gothic altars. Three altars have been preserved from the Gothic period, the clan altar with its forty figures in the Schreyerkapelle, the Sebaldus altar , whose panels come from Albrecht Dürer's workshop , in the second chapel from the right in the chapel wreath, and the Johannis altar in the third chapel from the right in the chapel wreath. These altars are all no longer in their original locations and some have been slightly changed.
The choir apex chapel is another special feature of Gmünder Münster. Here is the Holy Sepulcher , a group of figures around a sarcophagus from 1350 from the Parler hut, of which the realistic depiction of the guards' clothes and armament is remarkable. They were restored in the workshop of the State Monuments Office in Esslingen in 2018/2019 and brought back to the Münster shortly before Holy Week. On the left side wall there is a Secco painting from 1430 of the Lamentation of Christ, which is attributed to the master of the Lindau Lamentation .
There are many other figures of the Parler hut, which were made around 1350, spread across the cathedral. Some figures have been relocated from their former locations on the outer facade to the inside. Today the five wise virgins who used to adorn the south portal of the choir are now in the Schreyerkapelle (also known as the Sebaldus Chapel or Baptistery).
The neo-Gothic high altar was designed by Ferdinand Ries at the front and by Hermann Wörmann at the rear instead of the previous altar built in 1670 . The back designed by Wörmann is a representation of the Mount of Olives in the form of a winged altar . The crucifix on the front was made around 1510.
After the Second Vatican Council there were several temporary arrangements as a people's altar in the Münster, which is why the Münster parish announced a competition to redesign the sanctuary. This was won by the architect and sculptor Gottfried Böhm , but his design, which was initially installed as a further temporary solution made of wood and steel, was not finally implemented due to a vote within the Münster community. As a result, there was another competition in which the Krefeld artist Klaus Simon won. The altar, which is made from a 150-year-old red oak, was consecrated by Bishop Gebhard Fürst on September 14, 2009, the patronage of the cathedral . The altar as the place of the Eucharist and the ambo as the place of the Word of God form a unit in this design, as the ambo in the shape of a cross corresponds to the cut cross of the altar.
The Sebaldus Chapel in the chapel wreath with panels from Albrecht Dürer's workshop
Stalls and pulpit
The 24-seat choir stalls are fitted into the spaces between the pillars and were created as second choir stalls by Adolf Daucher (the younger) in 1550 after the tower collapsed. The seats and the lectern, the fields of which are decorated with inlays, are most likely still from the previous chairs. The double figures standing on the cornice of the choir stalls, representing the apostles on the north side and the prophets on the south side, were unique at this time . These figures are each 1.30 m high and hold a ribbon or a board on which their name or a significant saying can be read. The ornate cheeks of the stalls in the ship were created in 1724 and taken over in 1973 when the stalls were renewed.
Adolf Daucher also created the pulpit cage decorated with perspective inlays, which was attached to the third northern round pillar in 1551. In 1718, the sound cover was attached over the pulpit, which is attributed to Peter Albrecht from Gmünd .
After a small organ was mentioned in the gallery as early as 1530 , Benedict Klotz from Dinkelsbühl built the first main organ for the Gmünder Münster in 1544 . After Johann Michael Maucher created the magnificent organ front and gallery in 1688 , thanks to a donation from the mayor Johann Burkhart Mössnang, Paul Prescher from Nördlingen designed a new main organ for the cathedral, which comprised approx. 27 registers . In 1878 a new organ from Orgelbau Friedrich Weigle from Echterdingen was installed in the prospectus , which now contained 30 registers and two manuals as well as a pedal . Less than a hundred years later, this was also replaced by an organ from the Johann Klais company in Bonn . On September 25, 1983, the Klais organ in the Münster was inaugurated.
The organ is known beyond the borders of the diocese for its tonal possibilities and technical precision and enjoys great recognition by internationally known organists. An organ with 56 registers, three manuals , around 3800 pipes and a pedal was built into the 11-meter-high organ front, which is supported by eight atlases . Church music director Hubert Beck and the organ builder Hans-Gerd Klais designed an organ that is designed for a wide range of organ music.
At the end of the 1990s, a tubular bell chime with 25 bell tones was installed. In 2009 the entire electronics of the cathedral organ was renewed and a portunal flute 8 ′ was installed in the main work.
The cathedral organ also gained fame through the European Church Music Festival , which takes place annually in Schwäbisch Gmünd and the orchestral masses that regularly take place in the cathedral, which attract many visitors beyond the city limits to Schwäbisch Gmünd. It is the instrument of the final round of the international competition for organ improvisation , which takes place every two years in Schwäbisch Gmünd. The organ is one of the most important organ monuments in southern Germany.
Leaded glass window
Nothing has been communicated about the glazing of the minster in the Middle Ages, except that windows were smashed to rescue the Christians trapped after the catastrophe in 1497. The oldest glass painting inventory in the Münster is in the Sebaldus Chapel. Parts of the leaded glass windows date back to 1506. The Gmünd artist Hans Baldung, known as Grien, is said to have worked on the “Durer Maria” in the halo . The glazing of the treasury is also older than the rest of the windows in the cathedral, which were added in the 19th and 20th centuries.
With the exception of the Sebaldus Chapel and the treasury, the entire cathedral was re-glazed by various masters in the 19th century between 1856 and 1893. Most of the windows were made by Eduard Hecht . Various motifs were used here.
Around 1905 two chorobergade windows made of cathedral glass, in which only colored tracery and borders were used. The round windows of the west facade were re-glazed in 1957. Between 1952 and 1967, windows by Wilhelm Geyer were used in the eastern choir chapels and the associated Obergadenfestern, which have the Stations of the Cross, Easter and Pentecost as a theme and are designed in cathedral blue and red tones at the bottom and in yellow and red tones at the top. The old glazing was destroyed. The use of these windows is now being viewed critically. The color design, in addition to the destruction of the old windows, are points of criticism, because the different colors and the darkness of the tones do not compensate for the dark furniture, as the light, but nevertheless strongly colored, windows of the 19th century did.
→ Main article bell tower (Schwäbisch Gmünd)
After the towers collapsed in 1497, the bells of the cathedral were moved to the bell tower . There are two other smaller bells in the roof turret of the minster, the first bell originally being cast for the roof turret and the second from St. Salvator in Schwäbisch Gmünd, as its predecessor had broken. These two bells were both cast by Christian Victor Herold from Nuremberg . There is also a Sanctus bell in the choir and a sacristy bell in the cathedral .
|1||k. A.||675 mm||1764||b|
|2||k. A.||540 mm||1763||f sharp|
|I.||Sanctus bell||180 mm||17th century||e ″|
|II||Sacristy bell||140 mm||19th century||f ″|
With over 300 objects from 600 years, the minster treasure of the Heilig-Kreuz-Minster is one of the most extensive church treasures in Baden-Württemberg . Thanks to the continuous foundations and acquisitions in every century, a special variety of styles can be found in the Minster Treasure. It was kept in the minster's treasury until 1987 and, thanks to favorable circumstances, has largely been preserved there. Since it was only ever partially visible to the faithful and mostly only on high holidays, the Münster community decided in 1987 to make part of the Münster treasure available on permanent loan to the municipal museum in Preacher in Schwäbisch Gmünd so that it can be visited all year round. To this day, the usual parts of the minster treasure for church services are used on the respective holidays and are transferred from the museum back to the minster treasury for this period.
The oldest and most precious piece of the minster's treasure is the Holy Cross reliquary , which can always be seen during the patronage in the minster. The silver, partly gold-plated and decorated with blue enamel cross, created around 1440, contains a piece of wood set in gold, which is said to come from the cross of Christ. Also from the 15th century is a large Gothic tower monstrance , which resembles a cross-section through a Gothic basilica, with buttresses, pinnacles, tracery and gargoyles. Among the many other monstrances in the church treasure, two deserve special attention. One monstrance was made in Ulm around 1700 and combines the Renaissance with the Baroque. The other is also called a radiation monstrance. This particularly large and filigree monstrance is made of gold-plated silver. Her foot is formed by a winged angel. Large silver relief figures, laid out in pairs, adorn the surface.
Most of the items in the church treasure are reliquary carriers as well as everyday objects of worship: chalices, jugs, incense barrels, bowls, candlesticks, etc. Most of them exist for several generations, so the minster treasure alone contains five incense barrels. The pompous furniture made around 1700 by the Augsburg goldsmith Michael Mair deserves special attention . In addition to the ray monstrance, this also includes a goblet set with rubies and diamonds, which is also decorated with enamel medallions, and various other pieces.
The Gmünder Kreuz relic
The origin of the Gmünder Kreuz reliquie is controversial. A splinter of the cross was made by Staufer Konrad III. Donated to the Lorch monastery in the 12th century, to which the city of Schwäbisch Gmünd was ecclesiastically subordinate. Whether this is identical to the one that Irene of Byzantium , the wife of the German King Philip of Swabia , is said to have given the Lorch monastery as a gift is open.
It also remains to be seen whether the cross relic preserved in Gmünd today is identical to that of the monastery. The Lorcher relic was a large piece of the cross of Christ . A list of relics from the 15th century begins: “A large piece of the holy cross ( Item de sancta cruce magna pars )”. The cross relic was kept in a reliquary decorated with gold and silver ( tabula auro et argento ornata, in qua antiquo lignum sancte crucis conservatum fuit ) and was so large that the urbane Lorch monk Nikolaus Vener carried out a test of authenticity in the fire with part of it could. The tradition says that this Locher relic is the same that is located in Schwäbisch Gmünd today.
This is countered by the fact that as early as 1300 in a certificate of indulgence for the Gmünder Johanniskirche the possession of a cross particle was attested. In 1317, a letter of indulgence from the papal court in Avignon mentions an Ecclesia parocchialis ad sanctum crucem, i.e. a parish church dedicated to the Holy Cross . Hermann Kissling and Peter Spranger assume that when the Gmünd churches were reorganized in 1297, when the Johanniskirche was downgraded to a branch church and the minster became a parish church with the transition from Lorch Abbey to the cathedral chapter in Augsburg , the cross relic of the Johanniskirche was added the minster passed over. They too are of the opinion that this relic came from Lorch to St. John's Church.
The parish church was founded on 31 October 1761 by the Bishop Joseph I of Augsburg for collegiate and collegiate collected, making the city their own now pin dean and provost had and the chaplains of the city canon was. The associated establishment of the city chapter resulted in the longed-for separation from the landing chapter. In addition to the town clergy, this was also promoted by the then mayor of the imperial city, Joseph Ferdinand Anton Storr von Ostrach . The reason for this was that in 1753 the village pastor Schedel von Eschach was elected dean instead of a clergyman from Gmünd . The city chapter was given its own legal capacity and had the right to freely manage assets and to hold chapter meetings.
In 1802 the city became part of Württemberg , which is why all religious institutions, including the monasteries, were abolished. So the chapter was dissolved on July 21, 1803. The property was dissolved and the extensive chapter library went to the Gmünder Stadtarchiv . Today the chapter house on Munsterplatz , still used by the Munster parish , is a reminder of the city chapter. It was built from 1763 to 1765 by Johann Michael Keller the Younger .
The first provost was only introduced into office on August 15, 1766.
- Franz Xaver Adelmann von Adelmannsfelden , Auxiliary Bishop of Augsburg (1766–1787)
- Franz Xaver Debler (1787–1798)
- Thomas Kratzer (1798–1803)
Bauhütte and Münsterbauverein
Due to the amount, especially the historical building fabric, which the Münster community is responsible for maintaining, it still maintains a construction hut today . The Münsterbauhütte is the cathedral builder for both long-planned renovation, as responsible for the constantly occurring shortly repairs and is located on Cathedral Square. Since 2020, Adelheid Maria Weber has been running the Münsterbauhütte for the first time by a woman.
In order to create a further financing option for maintenance costs in addition to grants and municipal assets, the Münsterbauverein e. V. Schwäbisch Gmünd founded. In addition to collecting donations, he also sensitizes the population through lectures and campaigns for the historical building fabric. After the cathedral was declared in danger of collapsing in 1975 and years of ongoing renovation measures were initiated, a cross-denominational movement "Rettet das Münster" formed, which was organized under the umbrella of the Münsterbauverein.
Since replaced stones, such as sculptures, have to be kept for conservation reasons, the Münsterbauhütte maintains several lapidaries . In addition to storage facilities directly at the Münsterbauhütte or in the roof of the cathedral, lapidaries have also been set up in the wider area. Only the lapidarium in the Johanniskirche is open to the public .
St. Michael cemetery chapel
For a long time, the cathedral was surrounded by a cemetery . On the south-western wall of the cemetery was the St. Michael chapel, the dimensions of which are marked in the pavement on Münsterplatz. During excavations in 1993, the construction time of the Gothic chapel was dated to the first half of the 14th century. It was a simple rectangular building with a bell tower and ribbed vault . The certificate of consecration of November 26th, 1504 shows some inconsistencies, so it names Bishop Heinrich von Hewen as the executive cleric. In 1807, in the aftermath of secularization , the chapel with the Mount of Olives , crypt and ossuary is demolished.
Chapel of St. Michael in the Chronicle of Dominikus Debler
The minster is the parish church of the Catholic Heilig-Kreuz-Münster parish and the main church of the pastoral care unit Schwäbisch Gmünd-Mitte, which is the pastoral care unit 17 of the deanery Ostalb . Is also the Holy Cross Cathedral, the parish church for the localization community of Muenster community, the Italian community of San Giovanni Bosco .
In addition to the internal community life in Schwäbisch Gmünd, there is a large network between the communities. The pastoral care unit Schwäbisch Gmünd-Mitte consists of the parishes St. Franziskus , St. Michael , St. Peter and Paul, San Giovanni Bosco, St. Nicola Tavelic, Barmherziger Jesus and Heilig-Kreuz-Münster.
The pastoral care unit is the sponsor of the Gmünder Jugendkirche , which was initially located as an ecumenical youth church in the branch church of the Münster, the Johanniskirche. Since 2016, the now confessional Catholic youth church has been serving the Resurrection of Christ Church in the city as a church space.
Branch churches and chapels of the minster:
In addition, there are many chapels in private houses, in religious houses, in nursing homes, etc., as well as the monastery of the Franciscan Sisters of Eternal Adoration .
- Anton Nägele : The Holy Cross Church in Schwäb. Gmuend. Its history and its art treasures , Schwäbisch Gmünd, Association for the Restoration of the Holy Cross Church, 1925.
- Anton Nägele: The Gmünder Münster: a guide through the Holy Cross Church in Schwäbisch Gmünd , Benno Filser Verlag, Augsburg 1926.
- Hermann Kissling : The minster in Schwäbisch Gmünd, studies on building history, sculpture and furnishings . History Association Schwäbisch Gmünd 1975 ( digitized UB Heidelberg ).
- Norbert Bongartz: The Heilig-Kreuz-Münster in Schwäbisch-Gmünd - a current problem. In: Monument Preservation in Baden-Württemberg , 5th year 1976, issue 1, pp. 19–22 ( PDF ).
- Münsterbauverein Schwäbisch Gmünd (Ed.): Heilig-Kreuz-Münster zu Schwäbisch Gmünd , Einhorn-Verlag, 1987, ISBN 3-921703-43-3 .
- Klaus Graf : The Holy Cross Church in Schwäbisch Gmünd in the Middle Ages. Church and building history contributions . In: einhorn-Jahrbuch, Schwäbisch Gmünd 1989, pp. 81-108 ( Heidelberg University Library ).
- Monika Boosen: The Holy Cross Minster in Schwäbisch Gmünd . Einhorn-Verlag, Schwäbisch Gmünd 1999, ISBN 3-927654-69-8 .
- Peter Spranger et al .: Heilig-Kreuz-Munster Schwäbisch Gmünd: Diocese Rottenburg-Stuttgart; Patronage: Cross increase, September 14th , Gmünder Münsterbauverein (publisher), Einhornverlag, Schwäbisch Gmünd 2000.
- Stefan Timpe: Against the "ravages of time": on restoration practice at the Heilig-Kreuz-Münster in Schwäbisch Gmünd in the 19th and 20th centuries , published by the Schwäbisch Gmünd City Archives - Schwäbisch Gmünd: Einhorn-Verlag, 2001; ISBN 3-927654-89-2 .
- Richard Strobel, State Monuments Office Baden-Württemberg: The art monuments of the city of Schwäbisch Gmünd . Volume 1, City Building History, City Fortifications, Heiligkreuzmünster; Deutscher Kunstverlag, Munich 2003; ISBN 3-422-06381-1 .
- Museum in the Preacher Schwäbisch Gmünd: Shine of faith, the minster treasure of Schwäbisch Gmünd . Museum catalog No. 23, Einhorn-Verlag, Schwäbisch Gmünd 2003, ISBN 3-936988-00-5 .
- Marc C. Schurr : The architecture of Peter Parler. The St. Vitus Cathedral in Prague, the Heiliggeistmünster in Schwäbisch Gmünd and the St. Bartholomew's Church in Kolin in the field of tension between art and history. Thorbecke, Stuttgart 2003, ISBN 3-7995-0127-4 .
- Marc C. Schurr: The Heiligkreuzmünster as a building of creation of the Central European late Gothic , in Einhorn-Jahrbuch Schwäbisch Gmünd 2006, Einhorn-Verlag, Schwäbisch Gmünd 2006, ISBN 978-3-936373-29-5 ; Pp. 177-190.
- Klaus Jürgen Herrmann : ... The prince-bishop Joseph zu Augsburg tears away from the bath and declared the local parish church vivae vocis oraculo to be a collegiate or collegiate church ..., the city parish church in Schwäbisch Gmünd as a collegiate church (1761-1803) , in Einhorn - Yearbook 2008, Einhornverlag, Schwäbisch Gmünd 2008, ISBN 978-3-936373-46-2 , pp. 197-200.
- Hubert Herkommer ; Johannes Schüle: Ambassador of the skies: the gargoyles on the Heilig-Kreuz-Münster in Schwäbisch Gmünd , published by the Schwäbisch Gmünd City Archives in conjunction with the Münsterbauverein, Schwäbisch Gmünd: City Archives, 2010 ISBN 978-3-9813675-0-8 .
- Karlheinz Hegele: The cross particle of Gmünder Münster and the beginnings of the city of Gmünd in Einhorn-Jahrbuch Schwäbisch Gmünd 2012, Einhorn-Verlag, Schwäbisch Gmünd 2012, ISBN 978-3-936373-84-4 ; Pp. 167-183.
- Norbert Bongartz, Karl Krauß: At the end of the structural safeguarding and interior restoration of the Holy Cross Minster in Schwäbisch Gmünd . In: Monument Preservation in Baden-Württemberg , 10th year 1981, issue 3, pp. 118–121 ( PDF ).
- Wolfgang Mayer: Dismantling and reconstruction of the choir buttresses at the Heilig-Kreuz-Münster, Schwäbisch Gmünd . In: Preservation of monuments in Baden-Württemberg , 19th year 1990, issue 2, p. 72 f. ( PDF ).
- Richard Strobel: 650 years of the Choir of the Holy Cross Minster in Schwäbisch Gmünd. 1351-2001: Architecture and sculpture as evidence of the Parlerzeit. In: Denkmalpflege in Baden-Württemberg , 30th year 2001, issue 2, pp. 85–94 ( PDF ).
- Münsterbauverein eV Schwäbisch Gmünd
- Heilig-Kreuz-Münster (Schwäbisch Gmünd). In: arch INFORM .
- Heilig-Kreuz-Münster (Schwäbisch Gmünd). In: Structurae
- Klaus Graf : The sources for the reconstruction of the Holy Cross Minster in Schwäbisch Gmünd around 1500 . In: Archivalia of January 6, 2017
- Jaromír Homolka: Peter Parler, the sculptor. jaromirhomolkaarchive, 1964, accessed October 16, 2019 .
- Edda Eschelbach: The Heilig-Kreuz-Münster will be completely renovated for ten years , message on remszeitung.de of February 3, 2020.
- Gothic figures return to the cathedral . Article from April 3, 2019 on remszeitung.de.
- The familiar figures of the Holy Sepulcher in the Münster are back , article from April 9, 2019 on remszeitung.de.
- Adelheid Maria Weber is the new boss of the Münsterbauhütte , report from July 20, 2020 in the Rems-Zeitung .