Holy Cross (Mindelaltheim)

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Holy Cross viewed from the southwest (left) and southeast (right) Holy Cross viewed from the southwest (left) and southeast (right)
Holy Cross viewed from the southwest (left) and southeast (right)
The crucifixion group with Christ and the thieves by Christoph Rodt from 1604 (left) and the late Gothic seated Madonna with child Jesus (right) are among the most important items of decoration of Heilig Kreuz. The crucifixion group with Christ and the thieves by Christoph Rodt from 1604 (left) and the late Gothic seated Madonna with child Jesus (right) are among the most important items of decoration of Heilig Kreuz.
The crucifixion group with Christ and the thieves by Christoph Rodt from 1604 (left) and the late Gothic seated Madonna with child Jesus (right) are among the most important items of decoration of Heilig Kreuz.

Heilig Kreuz (Our Lord Peace) is a Roman Catholic pilgrimage and cemetery church in Mindelaltheim , in the Bavarian-Swabian district of Günzburg . The history of the sacred building goes back to the erection of a crucifix in 1604, which resulted in the creation of a pilgrimage site and the associated construction of a church building in 1698. The current shape of the cross-shaped church is the result of a redesign or extension by the Rococo master builder Joseph Dossenberger the Elder . J. 1753-54. The 29-part fresco program produced at that time comes from the Günzburg painter Anton Enderle . The church's history over the past two centuries has been marked by periods of dilapidation and closure, as well as a thorough renovation in 1986–1990. The monument is one of 28 cultural assets in the district protected by the Hague Convention .

In the choir there is an eight-part crucifixion group , the oldest figures of which are dated to the first half of the 17th century. A late Gothic seated Madonna with baby Jesus is also noteworthy in terms of art history .

designation

Map section showing the geographical location of the Holy Cross Church. The red fields symbolize built-up areas in Mindelaltheim .

The church name "zum heiligen Kreuz" or "Heilig Kreuz" can be found in documents since the 19th century. Occasionally, namely for the year 1785, the title "by the holy cross on our Lord's meadows" is also documented . According to a death register from 1710, the place of pilgrimage was evidently referred to as the " Church of the Lord's rest [sic]" . This dedication appears as the nickname “Our Lord Peace” or “Peace” in some more recent publications. The church is popularly called by means of the Swabian diminutive Kirchle . The name of the Kirchlesweg , which runs south of the sacred building, is derived from this. Although this is a church in the sense of canon law , it is sometimes listed as a chapel .

location

The church, oriented approximately to the northeast , is located on the southern outskirts of the village of Mindelaltheim at the foot of a hill that nestles against a wooded valley, the Schelmengrube . "In the past" Holy Cross stood completely alone. The church was at the intersection of the so-called Mühlweg , which stretched from Dürrlauingen to Riedmühle , and the road to Mehrenstetten and Konzenberg . This still exists, but with a changed route. Today it unites to the southwest of the Rococo building as State Road 2025 with the district road GZ 11, baptized Dossenbergerstraße . In addition, the village's cemetery, which was laid out in 1966, borders the church in the northeast .

history

chronology
1604 Erection of portraits
before 1615 Establishment of a chapel
1698 Extension by Albrecht
1753/54 Expansion by Dossenberger
1806 Avoidance of the demolition
1889 First closure
1950 Second closure
1953/54 Exterior renovation
1968 Interior renovation
1986-90 Last major renovation

Beginnings since the 16th and 17th centuries

According to a treatise from 1910 by the then Mindelaltheim pastor, Anton Christoph von Rehlingen , caretaker of the Dominican convent St. Katharina in Augsburg , under whose rule Mindelaltheim was at that time, left on May 20, 1604 “a devotional crucifix picture with Mary, Johannes and the Holy Dismas in the open air ” at the edge of the picnic area . The reason for this was the safety of the travelers. Anton von Steichele , however, speaks of "images of the crucified Savior and the two thieves" . This first crucifixion group was soon ascribed "miraculous properties" and therefore became a destination for pilgrims.

However, there is a document from 1558 in which disputes between the municipalities of Mindelaltheim and Dürrlauingen are reported over a statue on Mühlweg . This corresponds to the approximate location of the portraits donated by Anton von Rehlingen, even if the exact relationship between the two traditions remains unclear. Although this problem of classification, Bent Jörgensen asks about the connection between the erection of the portraits and the resulting pilgrimage, as well as the failed attempts in 1544 and 1546 to install a Protestant preacher in Mindelaltheim. The reformed imperial city of Augsburg came into conflict with the Augsburg bishop and the Roman-German king , to whom the margraviate of Burgau was subordinate.

Extensions until 1754

By 1614 at the latest, a roof , according to Steichele a small chapel , was built over the above-mentioned portraits by Anna Ziegler , prioress of the monastery at the time . Ziegler also equipped the new building with additional pictures. On behalf of the then Mindelaltheim pastor Georg Bachmann, an extension of the same took place from January 23 to August 23, 1698 to a church with a nave and choir , so that masses could be read there. The work was carried out under the Vorarlberg master builder Jakob Albrecht (* 1670) from Au , who among other things built the collegiate church in Obermedlingen , and amounted to 280 guilders and 28 kreuzers . At that time there was already a brotherhood related to the Holy Cross.

Half a century later, however, the church had to be enlarged again. One of the reasons was the large number of fraternity members. The Mindelaltheim pastor Franz Xaver Denkh entrusted the then 32-year-old Wettenhausen monastery builder Joseph Dossenberger for 100 guilders , who was to significantly shape the Swabian Baroque angle through his activities. Work began on June 16, 1753 and ended on September 14 of the following year, the cost this time being 1559 guilders and 46 kreuzers. The Freskierung took the Günzburger painter Anton Enderle for 172 guilders. The originator of the stucco is unknown, but Dossenberger himself could have designed it. Although the construction work was completed in 1754, it was not consecrated until September 17, 1782 by an auxiliary bishop from Augsburg .

Maintenance and renovations

From the end of the Old Kingdom to 1986

Range of repairs and renovations 1701–1907
1701 Damage to the windows from a thunderstorm
Second half of the 18th century Installation of a new tabernacle , new bells and a new organ
May 1819 New roofing of the church tower
1868
1883 Repair of the organ
1885 New roofing of the church tower
1895-96 Repair of masonry, roof and tower
1904 Restoration of paintings and stucco work by the Augsburg painter Eugen Bartl
1907 Renewal of the high altar by Alois Haugg von Ottobeuren and Simon Hörmann von Babenhausen
The location of the church in 1915, as illustrated by a votive image (see also the section on pilgrimage ).

During the coalition wars, wandering French soldiers broke into the Holy Cross Church several times. According to the records of the then Mindelaltheim pastor Ignaz Steichele, the empty tabernacle was opened by force, but no thefts worth mentioning were carried out. In 1780, liturgical processions were banned in the diocese of Augsburg , but “pilgrimages and brotherhoods still flourished” at the end of the 18th century, according to at least one church chronicle. As early as 1806, however, in the course of secularization, the Holy Cross Church was to be torn down "as dispensable for the benefit of the parish church foundation" . It is thanks to the people of Mindelaltheim that by raising an estimated value of 350 guilders, the sacred building for private devotions on Sundays and public holidays was preserved. In 1889 the church was - allegedly incorrectly - closed because it was dilapidated. In 1907 the pastor at the time wanted to revive the pilgrimage by building a Lourdes grotto , but he died before he realized his plan. Three years later, his successor complained that many items of equipment that were listed in an inventory from 1806 have disappeared.

The Holy Cross Church probably in the 1950s

Due to the danger of collapse, the church was closed a second time in 1950. A few months earlier, the then Mindelaltheim pastor Max Rimmele wrote in his diary: "Collection for the Kreuzkapelle [...] The chapel is falling apart: the roof is broken, the window panes are completely broken." Despite considerations of tearing the church down or converting it as a morgue, it took place in 1953– 54 a one-year exterior renovation and, in 1968, the renewal of the interior.

Between 17 December 1979 and 9 January 1980 in Holy Cross Church found a total of three burglaries take place in which a chalice , an altarpiece painting, as well as four figures were stolen.

Since the 1986 renovation

Until the beginning of the “very strict historical renovation” on April 24, 1986, the church was used almost exclusively for funeral services; the new cemetery in Mindelaltheim was laid out in 1966 to the northwest of the sacred building. At that time, however, there was dampness in the masonry, as the walls had failed to drain . In the Sakristei was mold discovered the frescoes partly fell from the ceiling and the roof beams of falling down.

The work was initiated by a two-month building drainage with partial replacement of the foundation. This was followed, for example, by laying a brick floor and redesigning the color of the interior and exterior facade. Under the newly installed gallery, an iron grille separates the west of the nave from the rest of the church. In addition, some of the furnishings were restored and the modern tabernacle and popular altar were placed in the choir. The church was reopened on September 15 and 16, 1990, when the bishop of Augsburg Josef Stimpfle consecrated the altar . The coordination of the church renewal, including public relations, was carried out by a support group. Between 1986 and 2004, a total of 600,000 euros were invested in renovations, almost a third of which came from donations.

Today, the rococo building is used for church services in the summer months instead of the Mindelaltheim parish church , as the lack of heating is of no importance at this time. The only exceptions are funerals , the feast of All Saints' Day and - due to the thematic orientation of the church - the liturgy of Good Friday .

architecture

The Holy Cross Church with information on the width and length of the church in centimeters (sketch not to scale)

Building history and building parts

Building chronology from 1698 to 1754 according to Karl Bader

The current nave and the gable turret in the west probably correspond to the church building from 1698. The tower , which sits on a curved gable , consists of a four-cornered and an octagonal section - the latter with pilaster - and an onion dome , which is closed by a double cross .

A sign to the west covers the entrance to the nave, which may not have been created until 1754. As a one-step elevation, bricks form the base of the square building, which is opened on all four sides by basket arches , so that the wooden, two-winged church door fits into the west . Gable and gable cornices protrude from the facade . The latter are at the level of the eaves and are also covered by bricks in the east , where they also close two corner pilasters with plinths . In 1953 or 1954 the sign was torn down and rebuilt.

When the church was being expanded, Dossenberger usually converted the existing church into a new choir room and added a new nave to the west. However, this was not possible in Mindelaltheim because of the marshy soil and the road leading to Konzenberg . That is why a thematically appropriate cross shape was created to the east , " which has a special position among the church buildings of Dossenberger". After the old choir was torn down , he added an approximately square crossing to the existing, rectangular nave with two three-sided "smoothly modeled" transverse arms. The crossing goes through a basket arch , which seems to have been cut out of the wall, into the narrowed choir with a flat oval closure. This is increased by a convex step compared to the other components. Furthermore, cross-arms and choir are approximately the same length and thus remember the Dreikonchenarchitektur the Gothic . The builder also built a two-story extension on the southern choir. This has a wall opening to the choir on the upper floor, as well as a bricked-up entrance in the east. This so-called hermit's apartment is now used as a sacristy .

Karl Bader is considering that Dossenberger could have integrated a twelfth station of the Cross , which had existed since 1748 - which was covered with a crucifixion group to the east of the church - in his extension as a choir closure . However, since this was not quite parallel to the old building, problems arose with the laying of the foundation and the roof construction . He sees evidence for the hypothesis, among other things, in the remains of tendril paintings , which can only be found in the area of ​​the choir.

External facade and roof

Outside niche of the eleventh station of the cross
Sketch of the Holy Cross Church with windows and wall openings (not to scale)

The first eleven stations of a Way of the Cross are indicated by rectangular niches with inscriptions on the outer wall of the church. There are three depressions on each long side of the nave, two each on the end sides of the transverse arms, and finally a niche is at the apex of the chorus oval. The Way of the Cross begins at the southwest corner of the sacred building, then leads to the northeast, circles the choir and then runs along the northern front of the building to the northwest of the nave, before continuing inside the church. The crucifixion group in the choir represents the twelfth station, the side altars refer to the last two stations . The conception of the Way of the Cross goes back to Dossenberger , who had the indentations partly knocked out of the old building and provided the eleven niches with pictures that have been lost. During the last renovation, the stations that were walled up at that time were exposed again and given their current appearance. A way of the cross is already documented for the year 1746 (or 1748), which also had eleven stations in the open. A Way of the Cross was installed inside the church in 1825, and another, for which no information is available, in 1903.

Between the sacristy and the south arm of the church there is a conche , which houses a life-size dungeon savior. Above there was originally an outer pulpit , which was suggested by painting work in the course of the last renovation. In addition, the nave, which was built in 1698, has a base that is missing in the Dossenbergerbau . The color design of the facade does not correspond to the historical original.

The church has a cone-round roof edge in the East, whose eaves is higher than in the edgy hip roofs of the cross arms and the gable roof in the west. A saddle brook also has the small, open sign. In general, the church roof rests on an "extremely complicated and tight" roof structure.

window

Mindelaltheim Holy Cross 211.JPG
Mindelaltheim Holy Cross 212.JPG


The windows of the old building (left) and the pairs of windows by Dossenberger (right)

A characteristic of the renovation of 1753/54 are "richly shaped", elongated pairs of windows . The grouped individual windows are separated by a narrow web, which acts as an axis of symmetry . A total of three such pairs can be counted, one each at the ends of the transverse arms and another one on the north side of the choir , although its southern counterpart was not realized through the construction of the hermit's apartment . Dossenberger mostly designed window groups from two long windows and a smaller opening above, which allude to the Holy Trinity . In Mindelaltheim such a third window is only indicated in the interior by stucco work, which is probably due to the low height of the church. The Albrecht building is structured by four individual windows, which are characterized by a similar size and simpler shape than the correlates that were added later. They can be seen on the north and south sides of the nave, where they form two horizontal axes . On the west facade of the church, four small windows create a square arrangement. Windows of a similar size can also be found on the south side of the sacristy.

During the last renovation, the windows of the sacred building were replaced.

Peal

The first bells of the church, two copies of different sizes, came from Augsburg from 1699. On the smaller bell there was a picture of Christ crucified , on the larger one the Archangel Michael and St. Catherine. Presumably this was a depiction of Katharina von Alexandrien , the patroness of the Augsburg Dominican convent , to which the village of Mindelaltheim belonged until the secularization . In 1778 new bells from Anton Weingarten from Lauingen followed for 76 thalers and 17 kreuzers , with castings in 1835 and 1883. At the time of Anton von Steichele's description of the diocese of Augsburg , they were inaccessible. During the First World War a bell - probably the only one in the place of pilgrimage - was removed for the purpose of melting down. The Holy Cross Church is not mentioned in the German bell atlas from 1967, but today there is a bell in the gable tab.

Angelus chimes

Interior design

The interior of the Holy Cross Church viewed from the nave

Wall structuring and design

Capital of a pilaster

A "[e] elegant pilaster structure" creates the interior of the church, in which sixteen pillars are distributed. In many cases, they appear to be buttresses on the arches of the crossing:

  • Individual pilasters are placed in the abutments of the nave arch.
  • In the arches to the cross arms they are paired in the east, but individually in the west.
  • Two pilasters each flank the window groups of the transverse arms.
  • Two pairs serve to frame the stucco-decorated fresco in the end of the choir .

Karl Koepf draws attention to the perspective design of the latter pilasters, the capitals , friezes and entablature sloping downward. For Anton H. Konrad , the broad spatial impression of the church lies in the convex-concave conception of the supports, including the ceiling concept. Standing on curved bases , the pilasters are adorned in places with gilded, rocailles-like capitals, which show the "free, dissolved forms of the mature rococo". Furthermore, convex wall pieces between transverse arms and choir, as well as niche-like bulges with oval arches behind the side altars, vary the interior architecture of Heilig Kreuz.

The color scheme was carried out in the course of the last renovation based on findings. Mainly in white, the sacred space is accentuated in some places by paintings, some of which were not visible before 1986. Around the crossing there is shown brickwork in orange on the pendentives , as well as ocher-colored cross or flower ornaments on the arch reveals . According to Alois Wollhaupter, the interior of Heilig Kreuz is reminiscent of the Chapel of the Fourteen Helpers in Need in Dischingen , which was expanded by Dossenberger in 1758 .

Ceiling design and frescoing

The church is generally remarkably low, but the height of the room increases from about the cross arms to the crossing. Dossenberger modified the flat ceiling of the nave, from the original design of which plaster residues were found under the top of the wall , with a cove . Similar ceilings close off the cross arms. The crossing, on the other hand, has a flat dome with a cornice over pendentives , the choir has a dome-like flat ceiling with a cove and also a delicate cornice.

Holy Cross is under the sign of five main and 24 side frescos (the latter are possibly also worked al secco ) by the Günzburg painter Anton Enderle (born June 11, 1700; † 1761). In addition to Mindelaltheim, the sacred buildings in Tapfheim and Haldenwang , as well as the Frauenkirchen in his home town of Günzburg, are counted among his main works. The same applies to Waldkirch , where Enderle and Dossenberger worked together as early as 1945.

Most of the works are decorated with jagged or curved and partly gilded stucco forms and are explained by quotations from the Bible in Latin - in the nave with German. The smaller paintings are designed almost entirely monochrome in earthy or violet tones. With the main frescoes, they share their thematic reference to the Holy Cross or the death of Christ on the cross, which is partially illustrated by typologies or allegories . After Cornelia Kemp, Enderle engravings by the Biberbach pastor Anton Ginther served as a template. The frescoes were largely renovated in 1968, but some were not rediscovered until the last major renovation at the end of the 1980s. The fact that some motifs were painted over in the course of the 20th century is suggested by Rudolf Weser's description of motifs no longer recognizable today in 1917. The two chronograms in the eastern choir and nave are a special feature . If you add their golden letters in the sense of Roman numerals, you get the number 1754, i.e. the year of completion of the church expansion by Dossenberger .

Main frescoes

Schematic overview of all the main frescoes in the church (based on Cornelia Kemp)
Illustration Subject
A. Fresko1 Holy Cross Church Mindelaltheim.jpg Choir: Glorification of the crucified as a fountain of grace through the four continents

Christ, bleeding from the five wounds , is enthroned over the globe . Under him personifications from (from left to right) Africa , Europe , America and Asia worship the crucified. The conch shell indicates the "change in the essence of the Catholic doctrine of the Eucharist". In the upper half of the picture the three divine virtues are shown. The crucified one, who symbolizes faith, is flanked by two angels. The left symbolizes love with a wreath of flaming hearts, the right symbolizes hope with an anchor.

B. Elevation of the Holy Cross (Mindelaltheim) .jpg Transept: Exaltation of the Cross - Emperor Herakleios carries the cross to Jerusalem

After the Persians stole the Holy Cross from Jerusalem in 614, the Byzantine emperor Herakleios managed to regain the relic some 15 years later . The fresco depicts the legend according to which the gates of the Church of the Holy Sepulcher closed inexplicably when the emperor, in pompous robe and crown, wanted to carry the cross back there. Only when he took off his regalia at the request of Patriarch Zacharias , he was able to move in.

In Enderle's painting, Zacharias is in the center of the picture, ostensibly in front of Herakleios with the cross, a putto and servants with a bishop's staff and imperial crown on the right, and other figures, including a mounted soldier, on the left. The bishop points to a group of people at the bottom. Possibly it is the representation of miraculous healings, which the legend describes. In the upper half of the picture, a band of clouds and another putto can be seen below the god's eye .

The painting had been whitewashed at an unknown point in time and was partially uncovered during the First World War. A partial reconstruction took place in 1919, as parts of the fresco had fallen from the ceiling.

C. Fresco of the Seventh Plague (Holy Cross Mindelaltheim) .jpg Northern Arm: The tenth plague - death of all firstborn

The fresco shows an angel with his flaming sword in the center of the picture killing the firstborn sons of the Egyptians . On the right one can see Israelites coating their doors with the blood of the sacrificial lamb so that the plague will pass them by. The lamb in turn lies next to it, slaughtered, inside the house. The tents in the background indicate the beginning of the Exodus ( Ex 12.21-31  EU ). The biblical passage can be interpreted as a prefiguration of Christ's sacrificial death as the Lamb of God . The accompanying text reads: “Celebravit pascha et sanguinis effusionem Heb.11.28 ” ; For example: " On the basis of faith, he performed Moses ' Passover and smeared [the doorposts] with blood ( Heb 11:28  EU )."

D. Serpentem in deserto.jpg
Engraving by Anton Ginther
South arm: Moses and the bronze serpent

According to the second book of Moses , God punished his sinful people during the Exodus - note the camp in the background - with snakes whose bites many people fell victim to; shown in the lower half of the picture. However, Moses , with a pointer in the fresco, ordered a snake figure to be attached to a pole. Each Israelite , of this idol was looking at was that snake bites harm ( Num 21.6 to 9  EU ). The brazen serpent in the center of the picture is reminiscent of that form of representation of the cross, which shows it empty, only draped with a cloth. The accompanying text above the painting also establishes the connection with the New Testament experience of salvation : "sicut Moÿses exaltavit serpentem in deserto joh.3.14 " - "And as Moses raised the serpent in the desert [so the Son of Man is to be exalted] ( Jn 3, 14-15  EU ). “The fresco could be inspired by a template by Anton Ginher .

E. Cross finding.jpg Longhouse: Finding the cross by Empress Helena

Probably in the years 326 and 327 Helena , the mother of the late Roman Emperor Constantine , researched the Holy Cross in Palestine and, according to legend, actually found three wooden crosses. The cross of Christ could be identified as such because when touched it resurrected the dead . The fresco captures exactly this scene: in front of a mountainous landscape, next to a building section on the left and a distant city silhouette on the right, two figures erect the holy relic . Next to it Helena in splendid clothes with servants; They wear the train of the empress and hold the crown and scepter ready on a pillow. Above, two putti are floating on a cloud (not visible in the picture). At the lower edge of the picture, some dead can be seen in their coffins, some of which - now brought to life - point their hands towards the cross.

Side frescoes and emblems

The side frescoes and emblems of the church (after Cornelia Kemp). On the left numbering and coloring according to the table below, on the right a rough reproduction of their actual color scheme. The side frescoes and emblems of the church (after Cornelia Kemp). On the left numbering and coloring according to the table below, on the right a rough reproduction of their actual color scheme.
The side frescoes and emblems of the church (after Cornelia Kemp). On the left numbering and coloring according to the table below, on the right a rough reproduction of their actual color scheme.
Illustration Subject Accompanying text German Bible references possible template by Anton Ginthers
Choir
1 Lignum Dulce.jpg The miracle of transforming the Mara water into fresh water Lignum Dulce Facit gustari ut possit amarum. Exod. 15 V. 25 Ex 15.25  EU
2 Sacrifice of Isaac Mindelaltheim.jpg Abraham sacrifices his son Isaac; Since Rudolf Weser did not mention an eastern choir fresco in his description of the frescoes from 1917, the reference text he mentioned could have been painted on here. This read: "Announce to him what David sang when his prophetic song rang out, proclaim to all the nation: The Son of God will rule from wood." Gen 22.1-19  EU
3 Perucsite petram.jpg Moses knocks water out of the rock , which in First Corinthians is equated with Christ. Percussite Petram et Fluxerunt aquae Psal 77 Ps 78.20  EU , 1 Cor 10.4  EU
4th Christ hangs on the cross in a tree, behind him you can see the snake with the apple. In 1917 this fresco was covered in white. Unde mors inde vita Unde mors, Inde vita.png
Crossing
5 Secco Adler.JPG An eagle lies on a rock with outspread wings, a second comes down to it. The picture is not mentioned in a description from 1917. Instead, two motifs come into question for this position, as well as for that of the secondary fresco No. 7. On the one hand the subject : "The Lamb of God on the mysterious book, from his wound his blood flows in a chalice." On the other hand, the "slaughtered Lamb of Revelation." A facie persequentis.png
6th A means of your souls (without stucco) Fresco of Heilig Kreuz (Mindelaltheim) .png In the center of the picture is a woman lying on a sick bed; Above her the cross in a frame in which there are apothecary vessels. The woman is surrounded by people. IN THE MIDDLE OF THE SOULS, CANST CHOOSE ALL THERE
7th Secco detail of the Holy Cross (Mindelaltheim) .JPG The sacrificial lamb on the altar; See side fresco No. 5 1 Cor 5,7  EU Deus non despicies.jpg
8th Trahe me post te without stucco.jpg Cross with the Arma Christi , namely crown of thorns , lance and hyssop branch , as well as two winged hearts, one of which hangs on the cross. Dream me post te Cant. 1.3 Hld 1.4  EU Dream me post te.png
North arm
9 Bunch of veal without stucco.jpg The scouts with the veal grape According to a description of the frescoes from 1917, the crucified Christ was depicted on one fresco and the sacrifice of Isaac on the other . Num 13.24  EU
10 Mannalese Heilig Kreuz (Mindelaltheim) .JPG Mannalese Ex 16.14  EU
11 Ut vitam habeant.jpg Pelican feeds its young with its own blood. Ut Vitam habeant Joh. 10. V. 10 Joh 10.1o  EU Ut vitam habeam.png
12 Domitat Jura.jpg Jonas is spat out by the whale. Domitat iura Sepulchri Math: 12.V. 40 Jonah 2.11  EU
South arm
13 Sun and Moon.JPG Sun over landscape, right crescent moon. The fresco is not mentioned by Rudolf Weser in 1917. exaltatus trahit joh 12. 32 Joh 12,32  EU
14th Head of Holphernes.png Judith with the head of Holofernes Jdt 15  EU
15th Sailing ship at low tide, the monstrance or Noah's Ark on the cabin roof surgit surgentibus undis Gn. 8th. Gen 8  EU
16 A hand from a cloud points to a clock on a pillar, the weights of which are two skulls . The fresco is not mentioned by Rudolf Weser in 1917. Sit hora Secunda. Utinam secunda.png
Longhouse
17th Cross alone (without stucco) .JPG On the left a sick person in a bed; in the upper center of the picture a cross floats in the sky. Three rays go from the cross towards the sick person. In a description of the frescoes from 1917, the Holy Cross Church was shown in the background. Only in the cross alone should the sick be healed
18th Chronogram Heilig-Kreuz Mindelaltheim.JPG Chronogram CrVX DIVIna In IVbILeo VeneratIonI In renoVato teMpLo eXposIta
19th Craut and plaster (without stucco) .JPG In the upper center of the picture Christ is enthroned with the holy cross . On the left there is a burning building and the grim reaper in the form of a skeleton . This points to the right, where a djinn- like figure is hovering in front of the open mouth of a hell dragon. In this there are people. Rudolf Weser described another topic in 1917: “The cross appears above a house and trees struck by lightning” . The fresco was explained with the text: "Because I prayed to the cross, my house and yard were saved" . Gray and plaster do not help those who face the need of death
20th Like David (without stucco) .JPG David with the head of Goliath ; He is beheaded in armor and with weapons on the right side of the earth. In the background there are a large number of similar tents, probably from a military camp. Like David there the Golliath. 1. Reg: C. 17. the Creūtz has besiget the enemy . 1 Sam 17.51  EU
21st Holy Cross (Mindelaltheim) With the cross wants to overcome.jpg Hand from the clouds stops Hydra . With the Creutz wants to overcome all my enemy and SinRezeptionden. In virtute tua.png
22nd Holy Cross (Mindelaltheim) Praise the gentlemen with pauken.jpg The psalling David; In 1917 the fresco had partially fallen off. Praise the gentlemen with kettles and with harps and organs
23 Heilig Kreuz (Mindelaltheim) You like me Trucken.jpg Horned animal with tail ( scapegoat ) carries animal heads on its back. A fresco description from 1917 explains the following motif: "[Z] two human figures in a dungeon hole surrounded by fire flames (purgatory)." You, like me, are trucking your limbs, do yourself also overcome Quam grave portat onus.png
24 See the cross (without stucco) .JPG St. Franz Xavier next to a crucifix . A devil or demon and followers of the Protestant faith flee to the left . The sky in the background is full of crosses, most of them rotated . On the right, in a separate panel , a ship in a storm near a rock. According to a description from 1917, a religious kneels before the cross; on the right “a church is shown in a ship in safety” . See the cross of the greater. flee all enemy from afar
Benches in the nave

reception

Anton Enderle steps back behind the works of his more famous nephew and pupil Johann Baptist Enderle , because "he did not set any new standards". In 1895, Anton von Steichele rated the frescoes and stucco in the Holy Cross Church as "insignificant". Rudolf Weser's judgment of 1917 is characterized by ambivalence : “The individual pictures are painted very unevenly. With all the beauty and richness of the content, they show all the weaknesses of the master of the work. ”In 1973, Karl Koepf saw the paintings and their stucco framing as the cause of the“ cheerful, festive atmosphere ”of the interior. In 1981 Cornelia Kemp compared the frescoes from Mindelaltheim with the Biberbach cycle and stated that they did not come close to this and did not bring about "little new ideas". Anton H. Konrad regards the frescoes as "coloristically well solved", even if he ascribes Enderle a rather "low art of invention".

Gallery and organ in the west of the nave

Floor and stalls

While today the pews are placed in two rows directly on the floor and only in the nave, before 1986 they reached the choir on a flat wooden pedestal. In addition, chairs are now placed in the western area of ​​the cross arms . At the heyday of the pilgrimage there was probably only a small central block with benches, in consideration of processions and the large number of confessionals . As they presumably reflect the original condition of the building, bricks were laid as flooring in place of the previous Solnhofen limestone slabs during the last renovation .

Holy Cross (Mindelaltheim) Organ3.jpg
Holy Cross (Mindelaltheim) Organ.jpg
Organ on the gallery of the church

Gallery and organ

After the gallery of the church was removed in 1968, it was rebuilt according to plans by the Augsburg architect Alois Zach as part of the last renovation in 1988, which stands out from the Dossenberger original in terms of design . A new organ was placed on it in 1993 . This is equipped with 8 registers on a manual and pedal . An organ with 6 registers has been documented since the end of the 18th century. This was repaired in 1883, but removed 21 years later due to its poor condition.

1. Paddock 8th' 5. Sesquialter 2 2 / 3 '(2 f).
2. traverse 8th' 6th Octave 2 ′
3. Principal 4 ′ 7th mixture 1 '(3 f.)
4th flute 4 ′ 8th. Sub bass 16 '

Furnishing

Crucifixion group with tabernacle and popular altar

As the twelfth station of the cross there is in the choir - instead of the high altar - an eight-part crucifixion group on a rock-like substructure in front of an often painted-over view of Jerusalem with angels on clouds. Before 1754, the church had a high altar made of stucco with a picture of Christ carrying the cross , the outline of which was found in the crossing in 1904. A votive image from 1797 shows only the crucified, the thieves and a long-haired figure on a four-pillar altar. In 1907 a neo-baroque high altar was erected, which was replaced in 1968 by a base for the crucifixion group, on which the neo-baroque ornaments were partially used.

Crucifixion group in the choir
Individual contemplation of the crucifixion group
image Figure with description Artist Dating
Mindelaltheim Holy Cross 946 Christ.JPG
Detail view
 Christ hangs lifeless on the cross with the titulus . Theexecutedin the three- nail type isclad ina partially gilded loincloth, so that the dead-pale body and the bleeding wounds appear. The head, crowned by a three-pointed halo, falls limply to one side. Christoph Rodt's early work 1604
Mindelaltheim Heilig Kreuz 946 Dismas.JPG Dismas
Mindelaltheim Holy Cross 946 Gestas.JPG Gestas can be recognized as an unrepentant thief by his dark cross.
image Figure with description Artist Dating
Mindelaltheim Heilig Kreuz 946 Putto with hammer.JPG The putti are about 35 centimeters high and each hold pliers and hammer. Originally there were other putti, also equipped with tools for suffering . However, at least one copy was stolen in 1979 or 1980 and the hammer-carrying angel was also reported stolen. Historical photographs indicate a location on a baroque-style altar, then on a simpler base. during the baroque
Mindelaltheim Heilig Kreuz 946 Putto with pliers.JPG
Mindelaltheim Heilig Kreuz 946 Maria Magdalena.JPG Maria Probably from Guggenbichler Late 17th century
Mindelaltheim Holy Cross 946 Johannes.JPG John
Mindelaltheim Holy Cross 946 Maria.JPG Mary Magdalene kneels before the holy lance and the sponge attached to a stick . first half of the 19th century

Since the renovation between 1986 and 1990, the figures have been placed on a modern substructure, which functions as a tabernacle and is made of gray Brazilian marble . The popular altar made in the same way replaced a previous altar from 1968. Both elements - tabernacle and substructure - were made by the Hohenfurter sculptor Egon Stöckle . For Werner Schell, then head of the Diocesan Building Office and Art Department of the Diocese of Augsburg , the substructure symbolizes not only Golgotha , but also the rock as a symbol for God "as the center and keystone of the world, as the foundation of the Most Holy", and not least the grave of Christ , as well as all graves in general.

Side altars

While the Crucifixion the twelfth Station of the Cross corresponds to represent the Retabelgemälde the side altars as (from 1782), the 13th or the 14th station is. Many appliances were 1,968 parts of the side altars removed from the church, as a renovation of lack of funds does not take place could. Photographs from the seventies only show the aforementioned paintings with the stipes , albeit in a reversed position. The altars in their entirety were only rebuilt in 1990. It remains to be seen whether the retable image of the south altar, which was stolen in 1979 or 1980, reappeared in this context or was replicated.

The following is a tabular overview of the furnishings and paintings on both side altars:

South side altar 13th Station of the Cross ( Lamentation of Christ )
400x abstract
Risen Christ without ornament. Png
The risen Christ: Christ clad in the corpse holds the cross in front of a view of the sky. The blood flowing from the wounds collects in a basin at his feet. The painting is reminiscent of the church's choir fresco. A red, two-part curtain is blowing in the foreground .
Reredos

97.5  cm × 161  cm

Vespers picture : Mary weeps for the lifeless body of her son , whom she grabs under his arms. She herself is sitting in front of the cross post that forms the central axis of the painting. To symbolize the pain of Mary , seven swords pierce her chest. In front of the two figures is a bowl with a sponge and the titulus . A mountain landscape with the city of Jerusalem rises in the background under a gloomy, cloudy sky.
Furnishing Among other things, busts of St. Joachim - recognizable by the two pigeons - and probably St. Anna , two reliquary shrines and a portrait of Mary with a star wreath in a shrine.
Stipes presumably mocking Christ
North side altar 14th Station of the Cross ( Entombment of Christ )
400x abstract
Arma christi without jewelry.jpg
Wounds and Arma Christi : Two putti spread out a piece of paper in the middle of which the burning, thorn-crowned Heart of Jesus is depicted. It is surrounded by the pierced members of Christ, which - like the heart - bleed. Before the paper suffering tools are laid out, namely, (from left to right) Water pot and cup w Pilate , the reed -Zepter was mocked with which Jesus, a club, a lantern, nails, pliers and hammer, a piece of clothing, as well as the scourge column with whip and Rod. In the background, the lance and sponge are set up in front of the cross of Christ , on which a ladder is also leaning.
Reredos

97.5  cm × 161  cm

Entombment of Christ Mindelaltheim.jpg
Entombment : In a rock grave , the body of Jesus is laid on a stone table with the help of a white cloth. Through the entrance to the cave you can see Golgotha with two crosses in front of the city of Jerusalem. Two putti hover over the deceased and five accompanying figures surround him, Maria among them. A water jug ​​and bowl are placed in the foreground.
Furnishing
Reliquary shrine Heilig Kreuz (Mindelaltheim) .JPG
Among other things, busts of Igantius von Loyola and Franz Xaver , two reliquary shrines , and a gold cross with cross particles in a shrine .
Stipes
Heilig Kreuz Mindelaltheim northern side age Stipes.jpg
probably Christ crowned with thorns
Replicated flag of the Brotherhood of the Fear of Christ

Late Gothic seated Madonna with baby Jesus

It is an approx. 103 cm tall sitting figure made of linden wood, which has been hollowed out on the back. The “remarkable work” was made around 1470 by Jörg Stein , a sculptor from the late Gothic Ulm School . Originally, the folds of the garment were probably still hanging over the base. During the baroque period , the baby Jesus was dressed and made into a jointed doll. In the 19th century it was painted over in blue and the work of art was transported to the wayside shrine in the parish forest , where it remained until around 1950. At this time the Mindelaltheim Madonna was finally restored and received a crown and scepter , as well as a new hand for Mary and the baby Jesus. The limbs of the figure, which is now in the southern arm of the Holy Cross Church, were immobilized again.

Dungeon savior in the outside niche

Epitaphs

The priest responsible for the first church building is said to have been buried in its choir. Its epitaph was still mentioned around 1800, but at that time only one goblet could be identified on the stone. The grave slab disappeared as early as 1910. His inscription is said to have read: "Here rests the venerable and well-born MG Bachmann, pastor there for 42 years, builder of this chapel and founder of the Brotherhood of Christ's Agony, First Praeses, died at the age of 65." is located on the west wall of the southern arm the tombstone of one of his successors - the builder of the church from 1754 - with the following appreciation: "Xaver Denkh is buried here, 16 years pastor there, zealot for souls and the honor of Jesus Christ, promoted the brotherhood, expanded and restored the chapel, † on May 23, 1762 "

Former inner pulpit and image of the Good Shepherd

During the last major renovation, the octagonal inner pulpit between the choir and the south arm was removed. This was made of wood, marbled and showed five pictures of saints, including a pope , a bishop and a friar . Dated around 1700, it probably came from the Albrecht Building and was viewed as too large and stylistically inappropriate. The pulpit ceiling was a recent reconstruction. Today only the door that led from the sacristy into the pulpit and through a painting of the Good Shepherd with the slogan “And you will hear my voice. Joan: 10 “ ( John 10  LUT ) is adorned.

Oil painting with the motif of Christ at rest

Holy grave

There has been evidence of a holy grave in Mindelaltheim since 1809, and it was probably revised in 1882. The present grave was made in 1913 by the carpenter's workshop Georg Saumweber in Günzburg for 522 marks and electrified three years later . The price includes painting by Paul Kronwitter - also from Günzburg - and Max Vogt from Munich . Not installed since the immediate post-war period, it was found in an attic at the end of the 20th century and repaired with the help of donations.

It is an approximately five meter high backdrop grave , which represents a kind of building section with four columns and in the middle of which there is a place for the exhibition of the Holy of Holies . The actual burial site is located in the substructure of the cenotaph , the figure of which, however, is estimated to be much older than 1913. In addition to the cobblers' balls arranged in an arc , the grave is framed by backdrops showing, for example, palm trees , angels and Roman soldiers . At the moment there is an erection every two years in Holy Week .

Brotherhood flag

At the beginning of the nineties, during the renovation of the Mindelaltheim rectory, a flag of the Brotherhood of Christ's Agony from the 19th century was found. The flag on display in the church is a replica of this original copy made in 2009, true to the original, as it was no longer possible to renovate it. Metal parts (including the cross), flagpole and tassels could, however, be reused. The imitation made of green brocade shows a medallion of Joseph of Nazareth on its front , as well as the noun Sacrum on the back, and measures 2 by 1.3 meters. The cost of the new production, which was consecrated on June 12, 2009, amounted to around 6,000 euros. At the moment the flag is attached to one of the front benches of the church.

Dungeon savior in the outside niche

Between the south arm and the choir there is a conche that contains a life-size figure of the dungeon savior. The unbiblical depiction shows Christ, clad only in a loincloth, crowned with thorns , with a cross nimbus , as he stands covered with wounds, chained to a scourge column . The statue is a late work by the artist Matthäus Bayer (* 1911; † 1990) from Heufeld . He imitated the original figure - which was stolen - on the basis of descriptions. An iron grille protects the niche, in which the masonry was indicated in a painterly manner.

Other items of equipment

More could be added to the listed works of art. There are statues on the walls depicting , for example, Paul , Thekla , Antonius , Igantius von Loyola , Aloisius , Franz Xaver and Nepomuk . Many of these saints are associated with the worship of the Holy Cross . Other noteworthy furnishings are two oil paintings in the two transverse arms of the church, which show the motifs of Christ resting and the dungeon savior . There is also a late Gothic Vesper image near the entrance portal . Two old cupboards that belong together are on the upper floor of the sacristy. According to Karl Bader, the rich furnishings of the church can be traced back to 365 years of membership in the Dominican convent of St. Katharina in Augsburg .

In addition to the aforementioned baroque putti and a reredos , an approximately 1.3 meter tall wooden scourge savior from the 18th century was stolen from theft in 1979 and 1980 , with his scourge column and chains remaining in the church. In addition, a baroque chandelier angel disappeared . The 30 to 40 centimeter tall figure was multi-colored (except for the gilded wings) and carried a cornucopia as a candle holder. A gold-plated measuring chalice from 1672 was also reported missing.

Images of further equipment
Commons : Equipment from Heilig Kreuz (Mindelaltheim)  - Collection of images, videos and audio files

The Church as a Place of Faith

Votive picture from Günzburg pilgrims from 1915, who presented themselves in procession in front of the silhouette of the village of Mindelaltheim and the Holy Cross Church. In a cloud are enthroned (from left to right) Saint Joseph with a lily , a nimbly cross, and another male figure with a sword and a kind of staff or telescope . The signature "PKGeb.g." (Bottom right) possibly comes from the Günzburg painter Paul Kronwitter.
Votive tablet from the time of the First World War.
Votive panel with the year 1797 in the upper center of the picture (not visible here). In addition to the four-part crucifixion group, note the existence of the southern choir window.

Pilgrimage

The then Mindelaltheim pastor Julius Pröbstle describes in his treatise on the Holy Cross Church from 1910 the importance of the same as a pilgrimage church , especially during the 18th century. Not only the enlargements of the church building, but also votive tablets and offerings, seven confessionals , the holding of foreign weddings and the existence of an outside pulpit speak for great popularity among the faithful . Until the first half of the 20th century, however, processions from surrounding villages regularly made pilgrimages to the church. Most of the votive tablets were lost as a result of the interior renovation carried out in 1953, today only a few specimens are preserved, which are attached to the northern wall of the north arm. In a certain contrast to this, Ludwig Dorn classifies the Holy Cross Church as a "former, locally limited, now abandoned [...]" pilgrimage site.

The Brotherhood of Christ's Agony

Pastor Georg Bachmann founded the Brotherhood of Good Death between 1668 and 1698 , which was later renamed the Brotherhood of Christ's Fear of Death . In any case, from the year 1698 there is a papal confirmation, including complete indulgence , from Innocent XII. receive. Allegedly already under his pontificate the brotherhood had about 4,000 members. Similar to other places of pilgrimage, it was an association of Catholic men and women whose goal - according to a statute from 1818 - was “to pay due thanks to the Savior who suffers and dying out of love for us” and “to him ask that he we would beystehen in all our Noethen, concerns and anxieties, but especially in our fear of death, so that we located for a good death, to which all may enjoy its bitter suffering and death in heaven the fruits. " to this end, The Brotherhood recommended rules for its members to conduct their lives of prayer and piety . The brotherhood existed after the Second World War , but no precise information is known about its end.

Hermitism

Certainly from 1707 to 1793 hermits lived at Heilig Kreuz , some of whom belonged to the Augustinian order . During the summer months, the hermits lived in a hut that was attached to the sacristy of the church (and perhaps for this reason gave it the name hermit apartment), in winter they moved into a house in the village of Mindelaltheim .

reception

Even if the frescoes of the church are rated negatively by the specialist literature (see section on frescoing ), this assessment does not apply to the house of God as such. In the physics report of the Burgau Regional Court in 1861, it is described as a "nicely built field chapel". The pastor of Mindelaltheim at the time, Julius Pröbstle, rated the church in 1910 as “a wonderful ornament of the area” as well as a “lovely little church” and a “precious gem”. In 1917, Rudolf Weser wrote in his essay about the painters Anton and Johann Baptist Enderle : “[T] he whole baroque architecture is wonderfully finely tuned, structurally it is a strangely beautiful and eye-pleasing complex.” Alois Wohlhaupter described the sacred building in 1950 in his Treatise on Joseph Dossenberger as a “typical Swabian pilgrimage church”. In 2011, Karl Bader from Mindelaltheim ascribed the church “supra-regional importance” due to its architecture and furnishings.

Literature selection

  • Karl Bader, Bent Jörgensen, Anton H. Konrad, Philibert Magin, Emil Neuhäusler, Monika Rappöhn, Dieter Rappöhn: Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött. Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 .
  • Georg Hartmetz: Christoph Rodt (around 1578–1634). Sculptor between Renaissance and Baroque (=  studies of southern German wooden sculpture of the early 17th century ). Anton H. Konrad Verlag, Weißenhorn 2019, ISBN 978-3-87437-586-3 , p. 144 and 270-271 .
  • Karl Heinrich Koepf: Joseph Dossenberger (1721–1785). A Swabian builder of the Rococo . Konrad, Weißenhorn 1973, ISBN 3-87437-090-9 .
  • Julius Pröbstle: Contributions to the history of the Holy Cross Church in Mindelaltheim near Burgau. In: Library for Folklore and Local Studies. Special issue on the German Gauen, 83. Kaufbeuren 1910, pp. 1–8.

Web links

Commons : Holy Cross  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b Dürrlauingen architectural monuments. (PDF; 125 kB) Bavarian State Office for Monument Preservation, August 16, 2013, p. 1 , accessed on September 16, 2016 .
  2. ^ Georg Simnacher: Greetings from the district administrator . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift on the occasion of the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . 1990.
  3. ↑ Stefan Erhardt, Philipp Hochreuther, Martin Schütz: map excerpt. In: OpenTopoMap. Retrieved November 1, 2016 (edited).
  4. ↑ a b c Statutes, indulgences and devotional exercises of the praiseworthy brotherhood of Christ's agony in the pilgrimage church of the Holy Cross in Mindelaltheim . Augsburg 1816.
  5. ↑ a b c d e f g h Anton H. Konrad: Pilgrimage Church of the Holy Cross Mindelaltheim . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 489 .
  6. ↑ a b c d e f g h i j k l m pilgrimage church Hl. Kreuz Mindelaltheim [church guide] .
  7. ^ A b intelligence sheet of the royal Bavarian Upper Danube district . No. 32 . Augsburg August 6, 1832, Sp. 895 ( books.google.de ).
  8. ↑ a b Geographischer Schriften, second part, third and last section . Johannes Georg Friedrich Jakobi, Weissenburg im Nordgau 1785, p. XIII ( books.google.de ).
  9. ↑ a b c d e f g h Karl Bader: Pastor in the village. Pastors, builders, patrons, chroniclers and lawyers for their parishioners . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 447-449 .
  10. ↑ a b c d e f g h i j k l m n o p q Bernt von Hagen, Angelika Wegener-Hüssen: District of Günzburg. Ensembles, architectural monuments, archaeological monuments (=  monuments in Bavaria: independent cities and districts in Bavaria . Volume 91,1 , 7 (Swabia, districts)). Lipp, Munich 1997, ISBN 3-87490-589-6 , pp. 119-120 .
  11. ↑ a b c d e f g Anton Steichele (Fortges. By Alfred Schröder): Rev. Mindelaltheim, 197 S. In: The diocese of Augsburg, historically and statistically described . 5; The country chapters: Ichenhausen and Jettingen. Augsburg 1895, p. 700-703 .
  12. ↑ a b c d e Church was threatened with demolition several times . In: Günzburger Zeitung. September 17, 2004. Number 216 . S. 16 .
  13. ^ Viktor Josef Dammertz : Greetings for the consecration of the altar in Mindelaltheim . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift on the occasion of the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . Augsburg June 1990.
  14. ↑ Franz Reißenauer, Josef Weizenegger, Anton H. Konrad, Paul Auer: The district of Günzburg. A portrait of its history and art . Anton H. Konrad, Weißenhorn 1966, p. 80 .
  15. ↑ a b c d e f g Alois Wohlhaupter: The Dossenberger brothers. Student of Dominikus Zimmermann . Ed .: Norbert Lieb. Schnell & Steiner, Schnell & Steiner, p. 27 .
  16. ↑ Mindelaltheim. Village life around 1950. p. 31 .
  17. ↑ a b c d e f g h i j k l m n Results of the research . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift for the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration .
  18. ↑ BayernAtlas: Geodata Base: Overlays: Places and Streets. In: BayernAtlas. Bavarian State Ministry of Finance, Regional Development and Homeland, accessed on March 24, 2016 .
  19. ↑ a b c d e f g h i j k l m n o p q r s t u v Julius Pröbstle: Contributions to the history of the Holy Cross Church Mindelaltheim near Burgau . In: Library for Folklore and Local Studies. Special issue on the German districts . tape 83 . Kaufbeuren 1910, p. 1-8 .
  20. ^ Michaela Glenk: Günzburg. City and Altlandkreis . In: Historical book of place names of Bavaria . Swabia, No. 11 . Commission for Bavarian State History, Munich 2012, ISBN 978-3-7696-6866-7 , p. 218 .
  21. ↑ a b c d e f g h i j k Bent Jörgensen: On the history of the community of Dürrlauingen up to 1806 . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. A community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 9-33 .
  22. ↑ a b c d e f g h i j k l Chronicle of the pilgrimage St. Cross Mindelaltheim . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift for the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . 1990.
  23. ^ Karl Bader: Pastor in the village. Pastors, builders, patrons, chroniclers and lawyers for their parishioners: Appendix I. From the notes of Pastor Ignaz Steichele . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. A community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 459-466 .
  24. ^ A b Karl Bader: Pastors, builders, patrons, chroniclers and lawyers for their parishioners: Appendix 3: From the diary of Director Max Rimmele, the last pastor in our rectory . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 490-495 .
  25. ↑ a b c d e f g h Art thefts in the Günzburg district . In: Weltkunst. The art magazine of the time . tape 50 , no. 7 . Zeit Kunstverlag, Hamburg April 1, 1980, p. 974 (in the second volume of a collection of all world art issues of the year).
  26. ↑ a b c d e f g h i j k l m n o p q Building repairs . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift for the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . 1990.
  27. ↑ Siegfried Kothmeier: Greetings from the pastor . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift for the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . 1990.
  28. ↑ The sponsorship group . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift on the occasion of the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . 1990.
  29. ^ A b Emil Neuhäusler: The most stressful days of the year. In: Augsburger Allgemeine. April 20, 2011, accessed May 21, 2015 .
  30. ↑ Map section of Mindelaltheim. In: BayernAtlas. Bavarian State Ministry of Finance, Regional Development and Homeland , accessed on January 1, 2016 (rough calculations of geographical distances using the scale).
  31. ↑ a b c d e f g h i j k l m n o p q r Karl Heinrich Koepf: Joseph Dossenberger (1721–1785). A Swabian builder of the Rococo . Anton H. Konrad, Weißenhorn 1973, ISBN 3-87437-090-9 , p. 32-33 .
  32. ↑ a b c d e f g h i Georg Dehio : Handbook of German Art Monuments - Bavaria III - Swabia (arr.: Bruno Bushart, Georg Paula) . 2nd Edition. Deutscher Kunstverlag , Munich 1989, ISBN 3-422-03008-5 , p. 712-713 .
  33. ^ Karl Bader: Pastor in the village. Pastors, builders, patrons, chroniclers and lawyers for their parishioners . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 448-449 .
  34. ^ A b c Karl Heinrich Koepf: Joseph Dossenberger (1721–1785). A Swabian builder of the Rococo . Konrad, Weißenhorn 1973, ISBN 3-87437-090-9 , p. 106-120 .
  35. ^ Karl Bader: The shocking chronicle of a catastrophe. In: Augsburger Allgemeine. September 19, 2014, accessed April 22, 2016 .
  36. ^ Sigrid Thurm: Mindelaltheim . In: Bernhard Bischoff (Ed.): Deutscher Glockenaltas . 2: Bavarian Swabia. Deutscher Kunstverlag, Munich 1967, ISBN 3-422-00543-9 , p. 232 .
  37. ↑ a b c d Aufsberg, Lala: Mindelaltheim. Chapel of the Holy Cross (1696; J. Albrecht and 1753; J. Dossenberger). Inside of the altar, after 1972 [photo number: df_ab_0104250]. SLUB / Deutsche Fotothek , accessed on April 4, 2016 .
  38. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao Cornelia Kemp: 131. Mindelaltheim . In: Applied Emblematics in South German Baroque Churches . Art Studies, No. 53 . Deutscher Kunstverlag, Munich / Berlin 1981, ISBN 3-422-00725-3 , p. 246-247 .
  39. ^ Karl Ludwig Dasser: Johann Baptist Enderle (1725–1798). A Swabian Rococo painter . Anton H. Konrad Verlag, Weißenhorn 1970, p. 80, footnote 8 .
  40. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Rudolf Weser : The fresco painters Anton and Joh.Bapt. Enderle from Söflingen. Reprinted from the Archive for Christian Future 1917 . Buchdruckerei der Akt-Ges. Deutsches Volksblatt in Stuttgart, Stuttgart 1918, p. 15-17 .
  41. ↑ a b Cornelia Kemp: 131. Mindelaltheim . In: Applied Emblematics in South German Baroque Churches . Art Studies, No. 53 . Deutscher Kunstverlag, Munich / Berlin 1981, ISBN 3-422-00725-3 , p. 85 .
  42. ^ Marion Romberg: View of all choir frescoes. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, August 18, 2012, accessed on March 20, 2016 .
  43. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa from Mindelaltheim (Günzburg), Holy Cross. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of History and Cultural Studies, Institute for History, accessed on March 27, 2016 .
  44. ↑ Ralph-Johannes Lilie: Introduction to Byzantine History . W. Kohlhammer, Stuttgart 2007, ISBN 978-3-17-018840-2 , pp. 270 ( books.google.de ).
  45. ↑ Georg Ott: Legend of the dear saints of God: The months of July to December . 3. Edition. tape 2 . Friedrich Pustet, Regensburg 1857, Sp. 1649–1652 ( books.google.de ).
  46. ^ Marion Romberg: View of all frescoes of the north arm. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, August 18, 2012, accessed on March 20, 2016 .
  47. ^ Wenrich Slenczka: Salvation history and liturgy. Studies on the relationship between salvation history and participation in salvation using liturgical and catechetical sources from the third and fourth centuries . Works on Church History, No. 78 . De Gruyter, New York / Berlin 2000, ISBN 3-11-016494-9 , pp. 233 ( books.google.de ).
  48. ^ Marion Romberg: View of all frescoes of the southern arm. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, August 18, 2012, accessed on March 20, 2016 .
  49. ^ Anton Ginther : Consideratio XXXIII. In: Mater amoris et doloris, quam Christ in cruce moriens omnibus ac singulis suis fidelibus in matrem legavit: ecce mater tua . Georg Schlueter / Martin Happach, Augsburg 1711, p. 491 ( digitized version in the Bavarian Library Association ).
  50. ^ Marion Romberg: View of all the frescoes in the nave. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, August 18, 2012, accessed on March 20, 2016 .
  51. ^ Jan Willem Drijvers: The Protonike Legend, the Doctrina Addai and Bishop Rabbula of Edessa . In: Vigiliae Christianae . tape 51 , no. 3 , 1997, ISSN  0042-6032 , pp. 298 ( booksandjournals.brillonline.com ).
  52. ↑ Gia Toussaint: The cross relic and the construction of holiness . In: Hartmut Bleumer et al. (Ed.): Between word and image. Perceptions and interpretations in the Middle Ages . Böhlau Verlag, Cologne et al. 2010, ISBN 978-3-412-20537-9 , pp. 36-37 ( books.google.de ).
  53. ↑ Jan Willems Drijvers: Helena, Flavia Iulia . In: J. Gordon Melton, Martin Baumann (eds.): Religions of the World. A Comprehensive Encyclopedia of Beliefs and Practices . 2nd Edition. Abc-Clio, Santa Barbara, CA et al. 2010, ISBN 978-1-59884-203-6 , pp. 1315-1316 ( books.google.de ).
  54. ^ Marion Romberg: Anton Enderle. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, February 18, 2016, accessed on April 13, 2016 .
  55. ^ Organ building Germany. Information about the instrument: Mindelaltheim. Pilgrimage Church of the Holy Cross. Bund Deutscher Orgelbauer eV, accessed on March 19, 2016 .
  56. ↑ a b Georg Hartmetz: Christoph Rodt (around 1578–1634). Sculptor between Renaissance and Baroque (=  studies of southern German wooden sculpture of the early 17th century ). Anton H. Konrad Verlag, Weißenhorn 2019, ISBN 978-3-87437-586-3 , p. 144 and 270-271 .
  57. ↑ a b c d e f g Karl Bader: In the middle of the village or out of the way and unknown - that too is Mindelaltheim . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 510-519 .
  58. ↑ a b Wener Schell: The reorganization of the crucifixion group . In: Karl Bader (Ed.): Heilig Kreuz Mindelaltheim. Festschrift for the reopening of the pilgrimage church Heilig-Kreuz Mindelaltheim with altar consecration . 1990.
  59. ^ Ulrich Mayer, Josef Weizenegger: wayside shrines and chapels in the district of Günzburg . In: Homeland series for the district of Günzburg . tape 4 . Günzburg, S. 113 .
  60. ↑ Albrecht Miller: Jörg Stein, the master of Tiefenbronn . In: State Art Collections and Central Institute for Art History Munich (Ed.): Münchner Jahrbuch der bildenden Kunst 2004 . LV (third episode). Munich 2004, ISBN 3-925058-55-9 , p. 33-72 .
  61. ^ Marion Romberg: On the agony of Christ brotherhood (Mindelaltheim). In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, February 24, 2016, accessed on April 12, 2016 .
  62. ^ Karl Heinrich Koepf: Joseph Dossenberger (1721-1785). A Swabian builder of the Rococo . Anton H. Konrad, Weißenhorn 1973, ISBN 3-87437-090-9 , p. 162, footnote 82 .
  63. ↑ Lala Aufsberg: recording no. 804.248: Holy Cross Catholic Chapel, Mindelaltheim. In: picture index of art and literature . Retrieved April 19, 2016 (1971–1975).
  64. ↑ a b It is too big for an acolyte. In: Augsburger Allgemeine. June 12, 2009. Retrieved April 12, 2016 .
  65. ^ A b c d Karl Bader: Associations in Mindelaltheim . In: Anton H. Konrad (Ed.): Dürrlauingen Mindelaltheim Mönstetten. Community between Mindel and Glött . Anton H. Konrad Verlag, Weißenhorn 2011, ISBN 978-3-87437-553-5 , p. 520-522 .
  66. ↑ The fraternity flag of the "Brotherhood for Christ's fear of death" in the pilgrimage church of HL. Cross in Mindelaltheim [information sheet] .
  67. ↑ April 17, 2011, Bruckmühl, exhibition hall, special exhibition with jazz violin improvisations. In: Marcus A. Woelfle. Music journalist, radio presenter, jazz musician. Marcus A. Woelfle, 2010, accessed November 11, 2016 .
  68. ↑ Karl Bader: chapels, wayside shrines, field crosses in place and hallway . Self-published, p. 11 .
  69. ^ Marion Romberg: View of the nave viewed from the crossing. In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, August 18, 2012, accessed on September 30, 2016 .
  70. ↑ Ulrich Mayer, Josef Weizenegger: Thanks and Please. Votive pictures from the district of Günzburg . Ed .: Historical Association Günzburg. Local history publication series for the district of Günzburg, No. 20 . Günzburg 1997, p. 56 .
  71. ↑ Ludwig Dorn: The pilgrimages of the diocese of Augsburg . 3. Edition. EOS Verlag, Augsburg 1976, p. 180-181 .
  72. ^ Marion Romberg: On the agony of Christ brotherhood (Mindelaltheim). In: continental allegories in the Baroque era in the Holy Roman Empire of the German Nation (southern Germany, German-speaking Austrian hereditary lands). University of Vienna, Faculty of Historical and Cultural Studies, Institute for History, February 24, 2016, accessed on April 13, 2016 .
  73. ^ Andreas Ilg: The physics report from Burgau (1861) . In: Gerhard Willi, Peter Fassl (ed.): Folklore and regional descriptions from the Günzburg district, the physics reports of the Günzburg, Burgau and Krumbach regional courts (1858–1861) . Publications of the Swabian Research Foundation: Series 10: Sources for Historical Folklore and Regional Studies, No. 4 . Wißner, Augsburg 2007, ISBN 978-3-89639-592-4 , pp. 438 .

Coordinates: 48 ° 16 ′ 23.9 ″  N , 10 ° 14 ′ 3.5 ″  E