Himmelkron Monastery

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Himmelkron Monastery from the north
Himmelkron Monastery from the south

The monastery Himmelkron was from the 13th to the 16th century Cistercian - Abbey in Himmelkron in Upper Franconia in the Diocese of Bamberg . It then served the Bayreuth margraves as a summer residence and hunting lodge until the 19th century . Today it is a dormitory and day care center for people with intellectual disabilities .

The originally Gothic monastery church was changed to Baroque style in the 17th and 18th centuries. Today the collegiate church of St. Maria is an Evangelical Lutheran parish church. Of the other buildings in the monastery, only one wing of the Gothic cloister has survived; most of the current buildings date from the 16th to 18th centuries. The entire building complex is registered in the Bavarian List of Monuments both as a monument and as a ground monument .

history

founding

Epitaph of Abbess Agnes von Weimar-Orlamünde († 1354)

The monastery was founded in 1279 by Count Otto III. (IV.) Founded by Weimar-Orlamünde . Via his mother Beatrix , the Orlamünder had received the rule of Plassenburg from the inheritance of the Andechs-Meranians , to which the village of Pretzendorf also belonged. Otto had Pretzendorf Castle converted into a monastery. In addition to the castle and the village of Pretzendorf, Otto donated the surrounding fields, meadows and forests as well as the towns of Hardt, Nemhards and Boschendorf to the monastery. The area belonged to the diocese of Bamberg , whose bishop was Berthold von Leiningen at the time.

The foundation deed of December 28, 1279 states that the purpose of the foundation is that Otto wanted to pass on his memory to posterity and do something for the salvation of his soul. In the letter of foundation, the name Himmelkron is mentioned for the new monastery. However, this name was not transferred to the village of Pretzendorf until the 16th century. In addition to representatives of the local aristocracy, personalities who make the connection to the Sonnefeld and Langheim monasteries clear are listed as witnesses . These included the founder of the Sonnefeld monastery, Heinrich II von Sonneberg , the Magister Brother Gottfried from Sonnefeld and the abbot of the Langheim monastery, who continued to accompany the development of the Himmelkron monastery as a visitor .

The first nuns of the newly built monastery probably came from the Sonnefeld monastery , the closest settlement of the Cistercian women. Tradition names Otto's daughter Agnes as the first abbess . Due to the long period between the founding of the monastery in 1279 and her death in 1354 and because Agnes is not mentioned in the foundation letter, it is assumed that there was at least one other abbess or prioress in the early days of the monastery .

Further development

Memorial plaque to Elisabeth von Künsberg as the builder of the cloister

For the period from 1398 to 1547, the manorial power of the monastery can be recorded as a nearby free float. In the south it reached into the Bayreuth area and bordered on the Warme Steinach in the southeast . While the Rote Main formed another natural border in the southeast , there were also properties in the area around Thurnau . In the north the manorial rule ended on the Schorgast . In the northeast there were possessions in Stammbach , Mussen and as far as the Hofer area.

The history of the monastery can usually only be grasped through war events or major construction activities by the abbesses. During the Hussite Wars , the Hussites arrived in the area in 1430 and, among other things, set fire to the nearby Kulmbach . There are no records of any major damage to the Himmelkron monastery. No major reconstruction work was subsequently mentioned and many works of art have survived. The abbesses Elisabeth von Künsberg (1460–1484) and Magdalena von Wirsberg (1499–1522) developed a lively construction activity, which is still evidence of heraldic stones and inscriptions. The most important construction project by Elisabeth was probably the construction of the cloister with its many artistic elements in 1473 . Magdalena added a wing to the monastery church. These two construction phases were interrupted by Margareta's time of Zedtwitz (1484–1499), when the monastery suffered from difficult economic conditions. Monastery buildings became ruinous and the management of the land was only incomplete. The part of the Margraviate of Brandenburg-Kulmbach called the Oberland was less affected by the Peasants' War from 1524 . In Bayreuth rallied apparently some rebels who damage the monastery, z. B. the theft of a silver cross, however, remained small and people were not harmed. Even in the Second Margrave War , looting only led to a few inventory losses .

Decline

Epitaph of the last abbess Margarethe von Döhlau († 1569)

During the time of Abbess Apollonia von Waldenfels , the Reformation moved into the region and was well received by the population and the clergy. Margrave Georg , an early follower of Martin Luther , pushed for the conversion to Protestantism and allowed a violent expulsion of nuns from Himmelkron and Hof if they did not accept the new denomination. The Bamberg Bishop Weigand von Redwitz lodged a complaint with the Swabian Federation about this in 1529 . The development could not be stopped. The margrave-friendly preacher Johannes Behaim, who was installed in Himmelkron, criticized the abbess Apollonia and the prioress Dorothea von Wirsberg from the pulpit.

The last abbess of Himmelskron, Margarethe von Döhlau , was installed in 1544 under Albrecht II Alcibiades . This gave the margrave the opportunity to impose conditions on the abbess for the conduct of her office and to gain an insight into life in the monastery and its furnishings. Margarethe was deposed as abbess as early as 1545 and financially compensated. With the income from the monastery, Princess Barbara († June 17, 1591), a cousin of Albrecht who previously stayed in Heilsbronn monastery, was supposed to be entertained. In 1548 Margarethe was called back as abbess. She announced the adoption of Protestantism . The number of nuns decreased to two in 1560. Margarethe finally converted part of the monastery into a school for noble girls. The school only existed until the end of the 16th century and at the end of the day also took in commoners and boys.

Abbesses

Seal of Anna of Nuremberg, Abbess 1370-1383

Johann E. Teichmann drew up lists of the abbesses of Himmelkron monastery in 1739 and pastor Theodor Zinck in 1925. Both named 16 abbesses and began their list with Agnes von Weimar-Orlamünde as the first abbess.

There are few references to other abbesses, but some of their names are uncertain. In a document dated June 27, 1401, Wieland was able to name a "Lawke" and a "Leukardis", which, according to the parish registry, followed Katharina von Schaumberg. In the founding phase of the monastery, it can be assumed that another abbess or administrator was already active before Agnes, who was probably still underage. Similar to the tradition of the founding days of the Hof monastery , the focus on Agnes as the last member of the family association could have arisen. Wieland names a "Rihze" from a document from the Sonnefeld Monastery of September 15, 1287 and a "Reitzgk II" for 1357, after the death of Agnes.

The abbesses came from local noble families, the ruling counts of Orlamünde and the burgraves of Nuremberg who followed them . There are parallels to the development of the nearby Clarissian monastery in Hof , see the list of the Abbesses of Hof .

Only a few of the nuns are known by name. Like the abbesses, they came to a large extent from the noble families of the surrounding area. The von Guttenberg family is often represented, Dobeck and Feilitzsch can be identified as having one person each.

No. Surname Term of office annotation coat of arms
01 Agnes of Weimar-Orlamünde until 1354 Agnes came from the family of the Counts of Weimar Orlamünde . She was a daughter of Otto III. (IV.) , The founder of the monastery. Your epitaph is in the church. Family coat of arms
02 Kunigunde from Nothaft until 1370 Kunigunde, also known as Katharina, came from the von Nothaft family . Family coat of arms
03 Anna of Nuremberg 1370-1383 Anna came from the Franconian Hohenzollern family . She was the daughter of the Nuremberg burgrave Johann II , who took over control of the Plassenburg and thus also the monastery they had founded from the Counts of Orlamünde . Her mother was Elisabeth von Henneberg († 1377), daughter of Berthold VII. Anna was previously abbess in the Birkenfeld monastery . Your epitaph is in the church. Family coat of arms
04th Ruth von Mosbach-Lindenfels after 1383 Ruth came from the Mosbach-Lindenfels family . Family coat of arms
05 Agnes von Wallenroth until 1409 Agnes came from the von Wallenroth family . Your epitaph is in the church. Family coat of arms
06th Katharina Förtsch from Thurnau 1409-1410 Katharina came from the Förtsch von Thurnau family . Family coat of arms
07th Katharina Rieter 1410 Katharina came from the Rieter family . She died immediately after her appointment. Family coat of arms
08th Katharina von Schaumberg 1410-1411 Katharina came from the von Schaumberg family . Family coat of arms
09 Longa from Kotzau 1411-1428 According to the genealogist Alban von Dobenck , Longa came from a branch of the von Kotzau family who were wealthy in Rehau and Leimitz and founded by her father Goßwein. Another abbess of the family was Katharina von Kotzau in the nearby Clariss Monastery of Hof . Family coat of arms
10 Adelheid von Plassenberg 1428-1460 Adelheid came from the von Plassenberg family . Your epitaph is in the church. Family coat of arms
11 Elisabeth von Künsberg 1460-1484 Elisabeth came from the von Künsberg family . She developed a brisk building activity, including the construction of the cloister. Your epitaph is in the church. Family coat of arms
12 Margareta von Zedtwitz 1484-1499 Margareta came from the von Zedtwitz family . Your epitaph is in the church. Family coat of arms
13 Magdalena von Wirsberg 1499-1522 Magdalena came from the von Wirsberg family . An inscription with their family coat of arms and the Redwitz coat of arms in the inner courtyard of the monastery testifies to their building activity from 1516. Their epitaph is in the church. Family coat of arms
14th Ottilia Schenk from Siemau 1522-1529 Ottilia came from the family of the Schenk von Siemau . Your epitaph is in the church. Family coat of arms
15th Apollonia von Waldenfels 1529-1543 Apollonia came from the von Waldenfels family . Family coat of arms
16 Margarethe von Döhlau 1543-1569 Margarethe, the last abbess of Himmelkron Monastery, came from the von Dölau family . With Abbess Veronika von Dölau , the von Dölau family was also represented in the nearby Hof Clarisse monastery . Since Margarethe, and with her the entire monastery, had converted to Protestantism, her epitaph in the church depicts her with a crucifix as a sign of the new confession in place of the crook that was customary up to now . Family coat of arms

Later use

Himmelkron Castle, 1890

The abbey church became a Protestant parish church in 1590 . The monastery buildings served the Bayreuth margraves as the Himmelkron hunting lodge . Especially under Margrave Christian Ernst it was expanded and the cloister partially destroyed. Margrave Georg Wilhelm had the baroque Red Eagle Hall built, which is used by the Himmelkron community for weddings and concerts.

In 1893 deaconesses from Neuendettelsau founded a “home for feeble-minded girls” in Himmelkron under the direction of Pastor Langheinrich. Today the monastery and the surrounding area house a dormitory, a day care center and a workshop for people with disabilities. The Diakonie Neuendettelsau is the sponsor .

The former nuns choir was set up as a collegiate church museum.

Say

The Himmelkron monastery is connected to the legend of the white woman , who was the lord of the castle in Plassenburg and who is said to have murdered her two children. According to one version of the legend, she is said to have founded the Himmelkron Monastery (according to another tradition, Himmelthron Monastery ) as a penance and became its first abbess. According to another version, the monastery already existed and the murdered children are said to be buried there. Kaspar Brusch , the author of the oldest written account of the legend, claims to have seen the graves of the two children in Himmelkron Monastery himself.

church

Himmelkron Collegiate Church

Exterior

The Gothic monastery church of St. Maria was built at the highest point within the village and dominates the village and the rest of the monastery complex. According to the rules of the order, the relatively small church had a simple exterior and a roof turret instead of a tower .

Despite the baroque remodeling in the margrave period, the Gothic style elements of the building are clearly recognizable. A special structural feature can be seen on the outside: the chancel and the nave in the east, which extend over the entire height of the church, are followed by a crypt at ground level in the western half and above the nuns' choir. This can be recognized from the outside by the fact that in the east part (left of the entrance portal on the north side) of the church the pointed arch windows extend over the entire height of the church, while the west part (to the right of the entrance portal) is divided horizontally by a cornice . Under the cornice there are seven lower pointed arch windows that belong to the crypt, above five higher pointed arch windows of the nun's choir.

Collegiate Church - Parish Church

Pulpit in the baroque pulpit altar

From 1698 the northern Italian architect Antonio della Porta fundamentally rebuilt the church. The redesign, which was carried out on the basis of the new Lutheran formal principles, can be classified in the styles of baroque and rococo . The beginning margrave style shows itself in a local expression . The windows were enlarged, the original Gothic eyelashes on the main portal were removed, the margravial coat of arms replaced a figure of Mary, and a group of mounts of olives from the outer choir was removed. The flat ceiling of the nave was vaulted, the two-story gallery was built (it was the first church gallery in which the columns extend continuously from the floor to the second floor) and the floor leveled. The pulpit altar was made in 1718 .

In the chancel there are isolated traces of the earlier design of the church. The middle choir window has a glass painting from the 14th century. The remainder of a wall painting from the 15th century shows Veronica's handkerchief. At the beginning of the 1990s, more stone slabs with frescoes were found in the floor of the choir during restoration work, which are exhibited in the collegiate church museum. This also includes a figurative representation that has been attached to the wall in the cloister for a long time. The piscina behind the altar and a crucifix from around 1470 also date from the time of the monastery .

Crypt - Knight's Chapel

Knight's Chapel

The ground level part in the west of the church was probably originally designed as a burial place for the Counts of Orlamünde. The tumba of the monastery founder Otto III is preserved. (IV.) Of Orlamünde († 1285). There are also sarcophagi from some of the Margraves of the Principality of Bayreuth from the Hohenzollern family . That is why the crypt was called the “Princely Crypt”. It says there:

Today the crypt is called the Knight's Chapel and is used as a prayer room for the day care center for the disabled. A small area adjoining the nave with the margrave sarcophagi is separated by a partition wall that does not reach the ceiling. Most of the room is used for devotions and ceremonies and is equipped accordingly. The vault closes with artistically designed keystones, which have the coats of arms of the local noble families in a rounded shape and other colored ornaments, including a pentagram , as a motif.

Nunnery - Collegiate Church Museum

The monastery church museum has been located in the nuns' choir and in a neighboring room of the former monastery, the Johannesstübchen, since 1987. Textiles and liturgical implements from the 16th to 18th centuries are exhibited there, as well as a mount of olives from the monastery period and an altar shrine. Painted stone slabs that were once used as wall decorations are also shown, which later served as floor slabs in the monastery church.

Epitaphs

Epitaph of Elisabeth von Künsberg

In addition to other epitaphs , especially from the 17th and 18th centuries, including those for teachers and pastors, grave monuments of the Counts of Orlamünde and also of lower nobility, often imperial-free Franconian knights have been preserved. There are a total of four epitaphs from the burial place of the Orlamünder counts. The unknown artist of the lavish Orlamünder grave monuments is called Wolfskeelmeister . Several abbesses were buried in the monastery, nine of them epitaphs are placed in the church. There are also further epitaphs under the church floor, of which more detailed descriptions are available. For example, the epitaph of Margarethe von Wiesenthau with the parental coats of arms Wiesenthau and Sparneck serves as the foundation of a column .

Abbesses

  1. Epitaph of Agnes von Weimar-Orlamünde
  2. Epitaph of Anna of Nuremberg († 1383)
  3. Epitaph of Agnes von Wallenroth († 1409)
  4. Epitaph of Adelheid von Plassenberg († 1460)
  5. Epitaph of Elisabeth von Künsberg († 1484)
  6. Epitaph of Margareta von Zedtwitz († 1499)
  7. Epitaph of Magdalena von Wirsberg († 1522)
  8. Epitaph of Ottilia Schenk von Siemau († 1529)
  9. Epitaph of Margarethe von Döhlau († 1569)
Epitaph of Otto VI. (VII.) From Orlamünde

Local nobility and earlier high nobility

  1. The oldest epitaph of the church with two coats of arms (unicorn, triskele , probably Waldenfels - Rabensteiner zu Döhlau , 13th century)
  2. Epitaph of a Count von Hirschberg (around 1280)
  3. Epitaph of a knight Förtsch von Thurnau (around 1300)
  4. Epitaph for Count Otto VI. (VII.) Of Orlamünde († 1340)
  5. Epitaph of an unknown count of Orlamünde (around 1360)
  6. Epitaph for knight Hans von Künsberg († 1470)
  7. Epitaph for knight Heinrich von Künsberg († 1473)
  8. Epitaph for Ursula von Wirsberg († 1510) with coat of arms of Wirsberg and Biberern
  9. Epitaph for knight Sebastian von Wirsberg zu Glashütten († 1523)
  10. Epitaph for the knight Sigmund von Wirsberg († 1543)
  11. Epitaph with the arms of Streitberg / Wallenrode (recovered from the knight's chapel in 1965)

Cloister

The preserved wing of the cloister

A preserved wing of the Gothic cloister is attached to the southern outer wall of the collegiate church in the former inner courtyard of the monastery .

The foundation stone for the cloister was laid on July 30, 1473 on the initiative of Abbess Elisabeth von Künsberg . The removal of the cloister began around 1750. Three cloister wings fell victim to the pickaxe. The pastor at that time personally supported the preservation of the cloister with the margrave and was thus able to protect the wing that was still in existence. However, stone figures from the cloister were sold in 1835, and it is only thanks to negligence that a prophet figure was forgotten when it was transported away. In the years 1886 to 1890 and from 1959 to 1969 the cloister was restored.

Sandstone reliefs

The birth of Christ on a sandstone relief plate

In the western corner of the cloister, a sandstone relief with a coat of arms and a plaque remind of the construction of the cloister under Elisabeth von Künsberg. In the north wall of the cloister, which also forms the outer wall of the collegiate church, seven further reliefs made of sandstone , which the nuns used to meditate, are embedded. It shows key statements of the Christian faith as they are contained in the Creed ( creed ) of all Christian denominations: creation , the proclamation to Mary , the birth of Christ , his crucifixion , resurrection and ascension . The works were created between 1460 and 1470 and were probably based on woodcuts that were only a little older. There are similar representations in other places as well. In the eastern corner yoke is the depiction of Jesus as the Man of Sorrows .

Sandstone relief depicting creation

In the sandstone relief depicting creation, God is on the left as the creator of the world. “Fiat” (let it be, it be done, it was created) he speaks according to the Latin slogan. The crowned man at the bottom right points with his hand to God and his creation and speaks according to the slogan, which, as is often the case with stone carving, uses abbreviations: "Ipse dixit et facta sunt, ipse ma [n] dav [it] et creata sunt" (he spoke, and it happened; he commanded, and it was created, from Psalm 33, verse 9 in the Old Testament ). In the Middle Ages it was believed that King David composed the Psalms, so he is likely the person depicted. Above, the world created by God can be seen in symbolic condensation and abbreviation, just as it was imagined according to the pre-Copernican , geocentric worldview valid at the time , because the representations were probably made around 1460/70. In the middle is the disc of the human-inhabited earth, for which a city (see also Heavenly Jerusalem ) symbolically stands. The sculptor placed no value on an exact spatial representation, he was concerned with symbolism, with a statement of faith, which is why the city or the earth disk can be seen from the side, as well as the ocean that surrounds it and sets a limit for the human world . The earth and thus also humans were at the center of the universe, which was imagined as several, finally as nine concentric (glass) spheres on which the planets moved while the fixed stars were fixed on the outermost one (see also Cosmology of Middle Ages ). Beyond that, the world ended, creation, and the sphere of God began. The relief shows the starry sky in a very simplified way: as two circles with the sun and the moon and six stars.

Vault

An angel playing music in a net field of the vault

The barrel vault above the cloister with its attached net rib work comprises seven bays between two corner bays. In the fields between the ribs, 26 angels are depicted, 19 of them making music on various instruments. The musical instruments are based on the theme of the sandstone reliefs. B. in the amount of the representation of hell struck the bell to chase away evil spirits. The musical instruments shown, some of which are no longer in use today, are monochord , one-handed flute with tabor , portative , lute , psaltery , fiddle , trumscheit , triangle , rattle of vessels , shawm , draw trumpet , timpani , bugle , hand bell , dulcimer , hurdy-gurdy , harp and bagpipe . An instrument after the angel with the lute is no longer recognizable. As a conclusion, King David is shown with a crown, opposite the prophet Isaiah . Your banners reflect the motto of the angel concert . Translation: “Praise him with drums and dance.” (Ps. 140,4) and “Jauchze und lobsinge…” (Isa. 12,6) A heavenly choir, which, as Meissner suspects, refers to the name of the Monastery.

Künsberg coat of arms and religious affiliations in a corner yoke

At the end of the cloister, the coat of arms of one of Künsberg's is attached to the vaulted ceiling , surrounded by 16 representations that symbolize religious affiliations. According to the current state of research by Werner Bergmann, these are religious affiliations of a male family member from the Künsberg family. This person had a very close family relationship with the Abbess Elisabeth and was an influential follower of the margraves. The 16 symbols of the order show connections throughout Europe, including Spain, Denmark and Hungary. Among the representations of the orders are the Society of the King of Spain, the Order of the Brothers of the Sword , the Society of the Bishop of Mainz (probably from Diether von Isenburg ), the Swan Order of the Margraves of Brandenburg, the Society of King Christoph III. , The Danish Order of the Elephant , the society of the Counts of Mantua (probably Ludovico Gonzaga ), the Dragon Order , the Society of the Eagle (founded by Duke Albrecht V of Austria ), the company of the Duke of Austria, who shed the Order , the Can Order , the Society of the Prince of Hesse, the Society of the King of England, the Society of the King of Navarre and the Society of the Grand Master of St. Anthony. Each order is represented by a figure, the order herald , who holds the ribbon with medallion and is provided with a banner on which each order is written with its original name.

Devil floor

The so-called devil's floor above the cloister shows animal figures made of sandstone, which according to medieval beliefs were supposed to keep away evil spirits. There is also the legend of a nun who is said to have been walled up alive.

Monastery building

Exterior view from the northwest
North corner of the lower courtyard
South corner of the lower courtyard

The former monastery buildings, which were largely renovated in the 16th to 18th centuries, are grouped around two inner courtyards.

The starting point for the construction of the monastery is today's Obere Hof, in which, similar to the original layout of the Sonnefeld monastery, the collegiate church is inserted north of the monastery square. The cloister was built in it under Abbess Elisabeth von Künsberg , of which only one wing has survived.

The significantly larger lower courtyard was gradually expanded , starting with the buildings of the abbess Magdalena von Wirsberg until the time of the margraves. The long construction phase explains the irregular floor plan and the open perimeter development of the courtyard. The use of the buildings as a hunting lodge led to the construction of another elongated building wing in the south of the second courtyard in the margrave's time, in which the Red Eagle Hall is located.

literature

  • Werner Bergmann : A riddle about an old vaulted ceiling . In search of new knowledge about 16 late medieval medals. In: Bund Deutscher Ordenssammler - German Society for Ordenskunde eV (Hrsg.): Orders and decorations - the magazine for collectors and researchers . Hof 2001, p. 22–30 (BDOS yearbook).
  • Alexander Johann Bilabel: Contributions to the history of the former Himmelkron monastery . In: Archives for history and antiquity of Upper Franconia . tape 15 , no. 2 . Bayreuth 1881, p. 275–317 (former name for the archive for the history of Upper Franconia ).
  • Johann Kaspar Bundschuh : Himmelkron, Himmelcron . In: Geographical Statistical-Topographical Lexicon of Franconia . tape 2 : El-H . Verlag der Stettinische Buchhandlung, Ulm 1800, DNB  790364298 , OCLC 833753081 , Sp. 661-662 ( digitized version ).
  • August Gebeßler : City and District of Kulmbach . The art monuments of Bavaria , brief inventories, III. Band . German art publisher . Munich 1958. pp. 53-59.
  • Annett Haberlah-Pohl: Historical Atlas of Bavaria . Francs. Münchberg - The Altlandkreis (Series I, Volume 39). Munich 2011. ISBN 978-3-7696-6556-7 , p. 47ff.
  • Joachim Hotz: Cistercian monasteries in Upper Franconia . In: Great Art Guides . tape 98 . Schnell and Steiner, Munich, Zurich 1982, ISBN 3-7954-0842-3 , pp. 71-80 .
  • Ernst Kießkalt: The sculptures of the former Cistercian convent Himmelkron . Bayreuth 1909.
  • Johann Loer: Kurtze Description of the praiseworthy Jungkfrawen-Closter HimelCron, located on the river Main near Culmbach uffm Gebierg . In: Archives for history and antiquity of Upper Franconia . tape 24 , no. 3 . Bayreuth 1911, p. 1–20 (former name for the archive for the history of Upper Franconia ). ( Notes on this )
  • Helmuth Meißner: 500 years of the Himmelkron monastery cloister . In: Colloquium Hist. Wirsbergense (ed.): History on the Obermain . tape 8 (1973/74) . Lichtenfels 1972.
  • Helmuth Meißner: The monastery cloister Himmelkron . History and description. In: Historischer Verein für Oberfranken eV (Hrsg.): Archive for the history of Upper Franconia . tape 54 , 1974, ISSN  0066-6335 , pp. 5-84 .
  • Helmuth Meißner: Himmelkron . History and stories, names and dates. Himmelkron 1979.
  • Helmuth Meißner: Collegiate Church, former monastery and Himmelkron Castle . ( Great architectural monuments , issue 245). 5th edition. Deutscher Kunstverlag, Munich / Berlin 1998.
  • Helmuth Meißner: Depictions of coats of arms in and around the former Himmelkron monastery . In: Historischer Verein für Oberfranken eV (Hrsg.): Archive for the history of Upper Franconia . tape 83 , 2003, ISSN  0066-6335 , p. 223-259 .
  • Helmuth Meißner: Depictions of coats of arms in Himmelkron . In: Historischer Verein für Oberfranken eV (Hrsg.): Archive for the history of Upper Franconia . tape 85 , 2005, ISSN  0066-6335 , p. 175-192 .
  • Helmuth Meißner: The Orlamünde epitaphs in Himmelkron . In: Historischer Verein für Oberfranken eV (Hrsg.): Archive for the history of Upper Franconia . tape 86 , 2006, ISSN  0066-6335 , p. 93-108 .
  • Karl Müssel: Heaven's crown on the White Main . Fate and change of a Cistercian convent. In: Our Bavaria - local supplement of the Bayerische Staatszeitung . Year 28, No. 9. , 1979, pp. 69-71 .
  • Hans Roser: Monasteries in Franconia . Eulen Verlag, Freiburg 1988, ISBN 3-89102-108-9 , pp. 229-232 .
  • Johann Ernst Teichmann : Historical description of the old women's closter Himmelcron . Bayreuth 1739, urn : nbn: de: bvb: 12-bsb10006661-7 .
  • M. Wieland: The Cistercian convent Himmelkron . Bregenz 1903.
  • Friedrich August Zinck: Some news from Himmelkron . In: Historischer Verein für Oberfranken eV (Hrsg.): Archive for history and antiquity of Upper Franconia . tape 21 , no. 2 , 1900, ISSN  0066-6335 , p. 49-56 .
  • Theodor Zinck: Himmelkron . Description of his past and present. Bayreuth 1925.

Web links

Commons : Kloster Himmelkron  - Album with pictures, videos and audio files

Individual evidence

  1. ↑ ( Page no longer available , search in web archives: Monastery Himmelkron monument ) at the Bavarian State Office for Monument Preservation@1@ 2Template: Toter Link / geodaten.bayern.de
  2. ↑ ( page no longer available , search in web archives: ground monument Kloster Himmelkron ) at the Bavarian State Office for Monument Preservation@1@ 2Template: Toter Link / geodaten.bayern.de
  3. ↑ Zinck: Himmelkron , p. 5. In the foundation letter, the date is given as "innocentium martyrum MCCLXXX", ie December 28th ( day of innocent children ) 1280. Since the year began in Advent or Christmas at that time, this corresponds According to today's calendar December 28, 1279.
  4. ^ Meißner: Stiftskirche ... , p. 2.
  5. ^ Zinck: Himmelkron , p. 2.
  6. ^ Meißner: Himmelkron , p. 22.
  7. ↑ Teichmann: Historical Description… , Cap. XV u. XVI
  8. ↑ Zinck: Himmelkron pp. 16–32.
  9. ↑ after Zinck: Himmelkron , p. 18f.
  10. ↑ a b c Meißner: Himmelkron , p. 23.
  11. ↑ Kaspar Brusch: Chronologia Monasteriorum Germaniae praecipuorum , 1552
  12. ↑ Meißner: Himmelkron , pp. 39–41.
  13. ^ Meißner: Himmelkron , pp. 44–46.
  14. ^ Zinck: Himmelkron , SV
  15. ↑ Overview of the museum on the website of the community of Himmelkron ( Memento from February 27, 2014 in the Internet Archive )
  16. ↑ Meißner: Stiftskirche, former monastery and Himmelkron Castle , pp. 12-16.
  17. ↑ Zinck: Himmelkron , S.VI-VII.
  18. ↑ Zinck: Himmelkron , p. 40f.
  19. ↑ Meißner: Der Klosterkreuzgang Himmelkron , pp. 41–48.
  20. ↑ Zinck: Himmelkron , p. 33f.
  21. ↑ Meißner: Der Klosterkreuzgang Himmelkron , pp. 39–41.
  22. ^ Meißner: Der Klosterkreuzgang Himmelkron , pp. 49–72.
  23. ^ Meißner: Himmelkron , p. 37.
  24. ↑ Bergmann: A riddle about an old vaulted ceiling . P. 29f.
This article was added to the list of articles worth reading on December 25, 2011 in this version .

Coordinates: 50 ° 3 ′ 44.3 "  N , 11 ° 35 ′ 35.5"  E