Химмелкрон аббатство

Аббатство Химмелкрон с севера

Аббатство Химмелкрон ( немецкий : Клостер Химмелкрон ) находится в Гиммелкроне в районе Кулмбах в Верхней Франконии , Бавария , Германия. С 13 по 16 -го века это было цистерцианское аббатство в архиепархии Бамберга . Затем он служил маргравиату Бранденбург-Байреут в летнем резиденции и Jagdschloss до 19-го века. Сегодня это жилой дом и центр дневного ухода для людей с ограниченными интеллектуальными возможностями .

Первоначально готическая церковь аббатства была барочной в 17 и 18 веках. Сегодня Коллегиальная церковь Святой Марии - евангельская лютеранская приходская церковь. Из других зданий аббатства только одно крыло готического монастыря было сохранено ; Нынешние здания датируются в основном с 16 по 18 веков. Весь строительный комплекс введен в баварский список памятников как архитектурный памятник и археологический памятник .

Аббатство Химмелкрон с юга

История

Фундамент

Эпитафия Аббесса Агнес из Веймар-Орландде (DED 1354)

Аббатство было основано в 1279 году графством Отто III (IV) Орламдде Веймар- . Через свою мать Беатрикс Орлайанд получил от наследства андеч -меранцев доминиона Плассенбурга , к которому также принадлежала деревня Кортэндорф. Отто был внедорожным замком, преобразованным в аббатство. В дополнение к замку и деревне Кортендорф, Отто дал аббатству окружающие поля, луга и леса, а также деревни Хардт, Немхардс и Босендорф. Район принадлежал к епархии Бамберга , епископ которой в то время был Бертольд фон Лейнинген .

Фонд акт 28 декабря 1279 года Государства как цель основания, которую Отто хотел передать свою память с потомками и сделать что -то для спасения его души. В письме фонда также упоминается имя Гиммелкрон для нового аббатства. Тем не менее, передача этого имени в деревню Кортэндорф не состоялась до 16 -го века. В дополнение к представителям местной дворянства, личности, которые четко показывают связь с монастырями Соннефельда и Лангейма, перечислены в качестве свидетелей. Среди них был основатель Аббатства Соннефельда Генрих II фон Соннеберг , брат магистра Готфрида из Соннефельда и аббата аббатства Лангейма , который продолжал сопровождать развитие аббатства Химмелкрон в качестве посетителя.

Первые монахини из недавно созданных аббатских, вероятно, пришли от аббатства Соннефельда , ближайшей ветви цистерцианских монахинь. Традиционные названия дочь Отто Агнес как первого аббатического . Однако из -за длительного периода между фундаментом аббатства в 1279 году и ее смертью в 1354 году и, поскольку Агнес не упоминается в письме о фундаменте, предполагается, что было по крайней мере еще одно аббатство или приоритет в первые дни в первые дни аббатство.

Дальнейшее развитие

За период с 1398 по 1547 год арендодательство аббатства может быть записано как близлежащее рассеянное поместье. Он простирался на юге в районе Байроута и граничит на юго -востоке на теплом Штейнахе . В то время как на юго -востоке Красная Главная были имущество сформировала еще одну естественную границу, в окружении Турнау . На севере арендодательство закончилось в Шоргасте . На северо -востоке были имущество в Стаммбахе , Мусен и до района Хоф .

Мемориальная табличка Элизабет фон Кюнсберг в качестве строителя монастырей

История аббатства может быть в основном прослежена только за счет военных событий или крупных строительных действий аббазов. В 1430 году во время войн в Гуссите гуситы пришли в этот район и, среди прочего, сгорели поблизости Кулмбаха . Тем не менее, не было зарегистрировано никакого серьезного ущерба для аббатства Химмелкрона. Таким образом, никакие серьезные реконструкционные работы не упоминались в последствиях, и многие произведения искусства пережили время. Аббессы Элизабет фон Кюнсберг (1460-1484) и Магдалена фон Вирсберг (1499-1522) разработали живую строительную деятельность, из которых по до сих пор свидетельствуют гербовые камни и надписи. Самым важным строительным проектом Элизабет был, вероятно, строительство монастыря с ее многочисленными художественными элементами в 1473 году. Магдалена расширила церковь аббатства на крыле. Эти две фазы строительства были прерваны ко времени Маргарет фон Зедтвиц (1484-1499), когда аббатство пострадало от сложных экономических условий. Здания аббатства стали разрушительными, и выращивание земель преуспело только не полностью. Часть Маргравиат Бранденбург-Кульмбаха под названием Оберленд был менее затронут войной крестьян в 1524 году. По-видимому, некоторые повстанцы собрались в Байроуте , но ущерб аббатству, например, воровство серебряного креста, оставалось незначительным, и никаких людей не пострадали. Также во второй войне в Маргрейве грабеж привел только к некоторым потерям от инвентаря .

Падение

Эпитафия последнего аббаса Маргарет фон Дёлау (умер в 1569 году)

Во времена Аполлонии фон Уолденфельса Аполлония Фон Уолденфельс переехала в регион и обнаружила благосклонность среди населения и духовенства. Маргрейв Джордж , ранний последователь Мартина Лютера , вынужден обращаться с протестантизмом и позволил насильственному изгнанию монахинь из Гиммелкрона и HOF, если они не приняли новую деноминацию. Бамбергский епископ Вейганд из Редвица подал жалобу по этому поводу в Лиге Свабян в 1529 году. Однако развитие нельзя остановить. Проповедник, благоприятный для Маргрейва Йоханнеса Бехаим, который был назначен в Гиммелкроне, раскритиковал аббатическую Аполлонию и приоритету Доротею фон Вирсберг с кафедры.

Последний аббатство Химмельшрона, Маргарет фон Дёльу , была назначена в 1544 году под Альбрехтом II. Альцибиады . Это дало Маргрейву возможность навязывать условия на аббатсе для ее поведения офиса и получить представление о жизни в аббатстве и его мебели. Уже в 1545 году Маргарета была свергнута как аббатство и обеспечена пенсией. Доход аббатства теперь должен был использоваться для поддержания принцессы Барбары (умерла 17 июня 1591 года), двоюродного брата Альбрехта, который ранее оставался в аббатстве Хейлсбрнн . В 1548 году Маргарета была восстановлена ​​как аббатство; Она обратилась к протестантизму . Количество монахинь уменьшилось до двух к 1560 году. Маргарет в конечном итоге превратила часть монастыря в школу для благородных девушек. Школа существовала только до конца 16 -го века, и, наконец, она также приняла простых людей и мальчиков.

Аббессы

Seal of Anna of Nuremberg, abbess 1370-1383

Списки аббатства Аббатства Химмелкрон были составлены Иоганном Э. Тейхманном в 1739 году и пастором Теодором Цинком в 1925 году. Оба назвали 16 Abbesses и начали свой список с Agnes von Weimar-Orlamünde .

Существуют редкие ссылки на дальнейшие аббазы, их имена частично необеспеченные. Таким образом, Вилан смог назвать «Локе» и «лейкардис», который сменил Катарину фон Шауберг, согласно приходским регистрам, в документе от 27 июня 1401 года. На этапе основания аббатства можно предположить, что еще один аббатский или администратор уже был активно перед незначительным агнсом. Подобно традиции основополагающего периода аббатства HOF , было бы возникнуть сосредоточенность на Agnes как последнего члена семейной группы. Уайланд упоминает о документе аббатства Соннефельда с 15 сентября 1287 года, «рихзе» и в 1357 году, поэтому после смерти Агнес, «Рейцгк II».

The abbesses came from local noble families, the ruling Counts of Orlamünde and the Burgraviate of Nuremberg who succeeded them. Thus there are parallels to the development of the nearby Clarissan abbey of Hof, see List of abbott of Hof.

No.	Name	Term of office	Notes	Emblem
1	Agnes von 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 abbey. Her epitaph is in the church.
2	Kunigunde von Nothaft	until 1370	Kunigunde, also called Katharina, came from the family von Nothaft.
3	Anna von Nürnberg	1370–1383	Anna came from the family of the Franconian Hohenzollerns. She was the daughter of the Nuremberg Burgrave Johann II, who took over the rule of Plassenburg from the Counts of Orlamünde and thus also the abbey they founded. Her mother was Elisabeth von Henneberg († 1377), daughter of Berthold VII. Anna had previously been abbess in the Birkenfeld Abbey. Her epitaph is in the church.
4	Ruth von Mosbach-Lindenfels	after 1383	Ruth came from the Mosbach-Lindenfels family.
5	Agnes von Wallenroth	until 1409	Agnes came from the family of Wallenroth. Her epitaph is in the church.
6	Katharina Förtsch von Thurnau	1409–1410	Katharina came from the family of Förtsch von Thurnau.
7	Katharina Rieter	1410	Catherine came from the Rieter family. She died immediately after her appointment.
8	Katharina von Schaumberg	1410–1411	Catherine came from the von Schaumberg family.
9	Longa von Kotzau	1411–1428	According to the genealogist Alban von Dobeneck, Longa came from a branch von Kotzau family, which was propertied in Rehau and Leimitz and was founded by her father Goßwein. Another abbess of the family was Katharina von Kotzau in the nearby Clarissan Hof Abbey.
10	Adelheid von Plassenberg	1428–1460	Adelheid came from the family von Plassenberg. Her epitaph is located in the church.
11	Elisabeth von Künsberg	1460–1484	Elisabeth came from the family von Künsberg . She developed an active building activity, including the construction of the cloister. Her epitaph is located in the church.
12	Margareta von Zedtwitz	1484–1499	Margaret came from the family von Zedtwitz. Her epitaph is located in the church.
13	Magdalena von Wirsberg	1499–1522	Magdalena came from the family von Wirsberg. An inscription with her family coat of arms and the Redwitz coat of arms in the inner courtyard of the abbey testifies to her building activity from 1516. Her epitaph is in the church.
14	Ottilia Schenk von Siemau	1522-1529	Ottilia came from the family of Schenk von Siemau. Her epitaph is in the church.
15	Apollonia von Waldenfels	1529-1543	Apollonia came from the family von Waldenfels.
16	Margarethe von Döhlau	1543-1569	Margarethe, the last abbess of Himmelkron Abbey, came from the noble family of Dölau. With Abbess Veronika von Dölau, the von Dölau family was also represented in the nearby Clarissan Abbey Hof. Since Margarethe and with her the entire abbey had converted to Protestantism, her epitaph in the church depicts her with a crucifix as a sign of the new confession instead of the previously customary crosier.

Only a few of the nuns are known by name. Like the abbesses, a good part of them also came from the noble families of the immediate vicinity. The family von Guttenberg is frequently represented, Dobeneck and Feilitzsch can be traced with one person each.

Later use

The abbey church became a Protestant parish church in 1590. The abbey buildings served the Bayreuth margraves as Jagdschloss Himmelkron. Especially under Margrave Christian Ernst it was expanded and the cloister was partially destroyed in the process. Margrave George Wilhelm had the baroque Red Eagle Hall built, which is used by the Himmelkron parish 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 convent and the surrounding grounds house a residential home, a daycare center and a workshop for people with disabilities. The responsible body is the Diakonie Neuendettelsau.

The former nuns' choir was established as the Collegiate Church Museum.

Legends

Himmelkron Abbey is connected with the legend of the White Lady, who is said to have been a lady of Plassenburg and to have murdered her two children. According to one version of the legend, she founded the Himmelkron abbey (according to another tradition, Himmelthron Abbey) as a penance and became its first abbess. According to another version, the abbey 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 the Himmelkron abbey himself.

Church

Exterior

Collegiate church Himmelkron

The Gothic abbey church of St. Mary was built at the highest point within the village and towers over the village and the rest of the abbey complex. According to the rules of the order, the relatively small church had a simple exterior and instead of a tower it had a ridge turret.

Despite the Baroque overhaul in the Margrave period, the Gothic stylistic elements of the building are clearly recognizable. On the outside, a structural peculiarity is recognizable: the chancel and the nave in the east, which extend over the entire height of the church, are followed in the west half by a crypt at ground level and above it the nuns' choir. This can be seen from the outside by the fact that in the eastern part (to the left of the entrance portal on the north side) of the church the lancet windows extend over the entire height of the church, while the western part (to the right of the entrance portal) is divided horizontally by a cornice. Under the cornice there are seven lower lancet windows belonging to the crypt, above them five higher lancet windows of the nuns' choir.

Collegiate church - parish church

Pulpit in baroque pulpit altar

Starting in 1698, the northern Italian architect Antonio della Porta fundamentally rebuilt the church. The remodeling, which was carried out due to the new Lutheran principles of form, can be classified in the Baroque and Rococo styles. In a local expression, the incipient Margraviate style is evident. The windows were widened, the original Gothic Wimperg at the main portal was removed, the Margravial coat of arms took the place of a figure of the Virgin Mary, and an Olivet group at the outer chancel was removed. The flat ceiling of the nave was vaulted, the two-story gallery was built (it was the first church gallery where the columns are continuous from the floor to the second floor), and the floor was leveled. In 1718 the pulpit altar was made.

In the chancel, isolated traces give clues to the earlier decoration of the church. The middle choir window has a stained glass from the 14th century. The remnant of a 15th-century wall painting depicts the Veronica's veil. In the early 1990s, restoration work in the floor of the choir found more stone slabs with frescoes, which are exhibited in the Collegiate Church Museum. These include a figural representation that has been fixed to the wall in the cloister for some time. Also from the monastic period are the piscina behind the altar and a crucifix from around 1470.

Crypt - Knight Chapel

Knight's Chapel

The ground-level section in the west of the church was probably originally laid out as the burial place of the Counts of Orlamünde. The high tomb of the abbey founder Otto III (IV) of Orlamünde († 1285) has been preserved. In addition, sarcophagi of some margraves of the principality of Bayreuth from the House of Hohenzollern are placed there. Therefore, the crypt was called "Prince's crypt". There are:

• the sarcophagus of Margrave George Frederick Charles († 1735),
• the sarcophagus of Prince Christian Heinrich († 1708, buried in Himmelkron in 1738),
• the sarcophagus of Prince Albrecht Wolfgang (fallen 1734, buried 1742) and
• the sarcophagus of Margrave Friedrich Christian († 1769).

Today, the crypt is called the Knight's Chapel and is used as a devotional space for the Day Care Center for the Disabled. A small area adjacent to the nave with the sarcophagi of the margraves is divided by a partition wall that does not reach the ceiling. Most of the room is used for devotions and ceremonies and is furnished accordingly. The vault ends with ornate keystones, which have coats of arms of local noble families in rounded form and other colored ornaments, including a pentagram, as a motif.

Nuns' choir - Collegiate church museum

In the nuns' choir and in a neighboring room of the former convent, St. John's parlor, the Collegiate Church Museum has been located since 1987. Among other things, textiles and liturgical utensils from the 16th to 18th centuries are exhibited there, as well as an Olivet group from the convent period and an altar shrine. Painted stone slabs once used as wall decorations are also on display, which later served as floor slabs in the abbey church.

Epitaphs

Epitaph of Elisabeth von Künsberg

In addition to other epitaphs, especially from the 17th and 18th centuries, including those for teachers and priests, there are surviving grave monuments of the Counts of Orlamünde and also of lesser noble Franconian knights, many of whom were free of riches. There are a total of four epitaphs from the burial place of the Counts of Orlamünde. The unknown artist of the elaborate Orlamünde funerary monuments is called Wolfskeelmeister. Several abbesses were buried in the abbey, nine epitaphs of them are placed in the church. There are also other 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.

Abbots

• Epitaph of Agnes von Weimar-Orlamünde
• Epitaph of Anna von Nuremberg († 1383)
• Epitaph of Agnes von Wallenroth († 1409)
• Epitaph of Adelheid von Plassenberg († 1460)
• Epitaph of Elisabeth von Künsberg († 1484)
• Epitaph of Margaret von Zedtwitz († 1499)
• Epitaph of Magdalena von Wirsberg († 1522)
• Epitaph of Ottilia Schenk von Siemau († 1529)
• Epitaph of Margarethe of Döhlau († 1569)

Epitaph of Otto VI (VII) of Orlamünde

Local nobility and early high nobility

• Oldest epitaph of the church with two coats of arms (unicorn, triskele, probably Waldenfels - Rabensteiner zu Döhlau, 13th century)
• Epitaph of a Count of Hirschberg (around 1280)
• Epitaph of a knight Förtsch von Thurnau (around 1300)
• Epitaph for Count Otto VI (VII) of Orlamünde († 1340)
• Epitaph of an unknown Count of Orlamünde (around 1360)
• Epitaph for knight Hans von Künsberg († 1470)
• Epitaph for knight Heinrich von Künsberg († 1473)
• Epitaph for Ursula von Wirsberg († 1510) with coats of arms of Wirsberg and Biberern
• Epitaph for knight Sebastian von Wirsberg zu Glashütten († 1523)
• Epitaph for knight Sigmund of Wirsberg († 1543)
• Epitaph with coat of arms Streitberg/Wallenrode (1965 recovered from the knight's chapel)

Cloister

The preserved wing of the cloister

A preserved wing of the Gothic cloister adjoins the southern outer wall of the collegiate church in the former courtyard of the abbey.

The foundation stone for the cloister was laid on 30 July 1473, on the initiative of Abbess Elisabeth von Künsberg. Around 1750, the removal of the cloister began. Three cloister wings fell victim to the pickaxe. The parish priest at the time personally lobbied the margrave for the preservation of the cloister and was thus able to protect the still existing wing. However, in 1835 stone figures from the cloister were sold, and it was only due to negligence that a prophet figure was forgotten during its removal. In the years 1886 to 1890 and from 1959 to 1969 the cloister was restored.

Sandstone reliefs

Birth of Christ on a sandstone relief slab

In the western corner yoke of the cloister, a sandstone relief with a coat of arms and a plaque commemorate the construction of the cloister under Elisabeth von Künsberg. In the north wall of the cloister, which is at the same time the outer wall of the collegiate church, seven further reliefs made of sandstone are embedded, which served the nuns for meditation. Depicted are core statements of the Christian faith, as they are contained in the Credo (Creed) of all Christian denominations: the Creation myth, the Annunciation to Mary, the Birth of Christ, his Crucifixion, Resurrection and Feast of Ascension. The works were created in 1460-1470 and probably had woodcuts as models, which were only slightly older. There are similar representations in other places. In the eastern corner yoke is the depiction of Jesus as the Man of Sorrows.

Sandstone relief with depiction of creation

In the sandstone relief with the representation of the creation God stands on the left as creator of the world. "Fiat" (let it be, let it be done, let it be created) he speaks according to the Latin banner. The crowned man on the lower right points with his hand to God and his creation and speaks according to the banner, which, as is often the case with stone carvings, 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 assumed that King David wrote the Psalms, therefore he is probably the person depicted. Above, the world created by God can be seen in symbolic condensation and abbreviation, as it was imagined according to the pre-Copernican, geocentric model valid at that time, because the depictions were probably created already around 1460/70. In the center is the flat Earth inhabited by man, for which symbolically stands a city (see also New Jerusalem). The sculptor did not attach importance to an exact spatial representation, he was concerned with symbolism, with a statement of faith, therefore the city or the earth disk can be seen from the side, as well as the world sea, which surrounds it and sets a limit to the human world. The earth and with it also the human being stood in the center of the universe, which one imagined as several, at last as nine concentric (glass) spheres, on which the planets moved, while on the outermost one the fixed stars were fixed (see also cosmology of the Middle Ages). Behind it ended the world, the creation, and began the sphere of God. The relief gives the starry sky very simplified: as two circles with the sun and the moon and six stars.

Vault

Angel playing music in a net field of the vault

The barrel vault over the cloister with its applied reticulated ribwork comprises seven bays between two corner bays. In fields between the ribs, 26 angels are depicted, 19 of whom play music on various instruments. The musical instruments are oriented to the theme of the sandstone reliefs; for example, at the height of the depiction of hell, the bell is struck to chase away evil spirits. The musical instruments depicted, some of which are no longer in use today, are monochord, three-hole pipe with tabor, portative, lute, psaltery, vielle, trumpet, triangle, rattles, shawm, slide trumpet, timpani, bugle, handbell, dulcimer, hurdy-gurdy, harp and bagpipe. An instrument after the angel with the lute is no longer recognizable. As a conclusion, King David is depicted with a crown, opposite him the prophet Isaiah. Their banners reflect the motto of the Angel Concert. Translation: "Praise him with timpani and round dance." (Ps. 140,4) and "Rejoice and sing praises ..." (Is. 12,6) A heavenly choir, which probably, as Meissner assumes, refers to the name of the abbey.

Künsberg coat of arms and order affiliations in a corner yoke

At the end of the cloister, the coat of arms of Künsberg is mounted in the ceiling vault, surrounded by 16 representations symbolizing religious affiliations. According to the current state of research by Werner Bergmann[24], these are religious affiliations of a male member of the Künsberg family. This person was in the closest family relationship to the abbess Elisabeth and was an influential retainer of the margraves. The 16 signs of the order show connections to the whole European area, including Spain, Denmark and Hungary. Among the order representations are the Society of the King of Spain, the Order of the Livonian Brothers of the Sword, the Society of the Bishop of Mainz (probably by Diether von Isenburg), the Order of the Swan of the Margraves of Brandenburg, the Society of King Christopher III, the Danish Order of the Elephant, the Society of the Duchy of Mantua (probably Ludovico Gonzaga), the Order of the Dragon, the Society of the Eagle (founded by Duke Albrecht V of Austria), the Society of the Duke of Austria, the Order of the Scale, the Order of the Jar, 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 Saint Anthony. Each order is represented by a figure, the Order Herald, who holds the Order ribbon with Order medallion and is provided with a banner on which each Order is written with its most original name.

Devil's Ground

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

Abbey building

Exterior view from northwest

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

The starting point of the abbey building is today's Upper Courtyard, in which, similar to the original layout of Sonnefeld Abbey, the collegiate church is inserted northward into the abbey quadrangle. Under the abbess Elisabeth von Künsberg the cloister was built in it, of which only one wing has been preserved.

The much larger Lower Court was only gradually extended to a more or less closed area, beginning with the buildings of Abbess Magdalena von Wirsberg up to the time of the margraves. The long construction phase explains the irregular ground plan and the open peripheral buildings of the courtyard. The use of the buildings as a hunting lodge led to the construction of another long building wing in the south of the second courtyard in the margrave period, in which the Red Eagle Hall is located.

Bibliography

North corner of the lower court

• Werner Bergmann (2001), Bund Deutscher Ordenssammler - Deutsche Gesellschaft für Ordenskunde e.V. (ed.), "Rätsel um ein altes Deckengewölbe", Orden und Ehrenzeichen – Das Magazin für Sammler und Forscher (Auf der Suche nach neuen Erkenntnissen zu 16 spätmittelalterlichen Ordenszeichen), Hof, pp. 22–30
• Alexander Johann Bilabel (1881), "Beiträge zur Geschichte des ehemaligen Klosters Himmelkron", Archiv für Geschichte und Alterthumskunde von Oberfranken, vol. 15, no. 2, Bayreuth, pp. 275–317
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  South corner of the lower court

• August Gebeßler: Stadt und Landkreis Kulmbach (= Bayerische Kunstdenkmale. Band 3). Deutscher Kunstverlag, München 1958, DNB 451450973, pp. 53–59.
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• Ernst Kießkalt (1909), Die Bildwerke des ehemaligen Zistercienserinnen-Klosters Himmelkron, Bayreuth{{citation}}: CS1 maint: location missing publisher (link)
• Johann Loer (1911), "Kurtze Beschreibung des löblichen Jungkfrawen-Closters HimelCron, am Fluß des Mains bei Culmbach uffm Gebierg gelegen", Archiv für Geschichte und Alterthumskunde von Oberfranken, vol. 24, no. 3, Bayreuth, pp. 1–20 (Hinweise dazu)
• Helmuth Meißner (1972), Colloquium Hist. Wirsbergense (ed.), "500 Jahre Klosterkreuzgang Himmelkron", Geschichte am Obermain, vol. Bd. 8 (1973/74), Lichtenfels
• Helmuth Meißner (1974), Historischer Verein für Oberfranken e.V. (ed.), "Der Klosterkreuzgang Himmelkron", Archiv für Geschichte von Oberfranken (Geschichte und Beschreibung), vol. 54, Bayreuth, pp. 5–84, ISSN 0066-6335
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• Helmuth Meißner (1998), Stiftskirche, ehemaliges Kloster und Schloss Himmelkron ((Große Baudenkmäler, Heft 245)) (5. ed.), München/Berlin: Deutscher Kunstverlag
• Helmuth Meißner (2003), Historischer Verein für Oberfranken e.V. (ed.), "Wappendarstellungen in und um das ehemalige Kloster Himmelkron", Archiv für Geschichte von Oberfranken, vol. 83, Bayreuth, pp. 223–259, ISSN 0066-6335
• Helmuth Meißner (2005), Historischer Verein für Oberfranken e.V. (ed.), "Wappendarstellungen in Himmelkron", Archiv für Geschichte von Oberfranken, vol. 85, Bayreuth, pp. 175–192, ISSN 0066-6335
• Helmuth Meißner (2006), Historischer Verein für Oberfranken e.V. (ed.), "Die Orlamünde-Epitaphien in Himmelkron", Archiv für Geschichte von Oberfranken, vol. 86, Bayreuth, pp. 93–108, ISSN 0066-6335
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• Теодор Цинк (1925), Гиммелкрон (описание его прошлого и настоящего), Байроут {{citation}}: CS1 Maint: местоположение отсутствует издатель ( ссылка )

Внешние ссылки

• Гиммелкрон . В: Абби в Баварии. На сайте дома баварской истории
• Коллегиальная церковь и монастырь Гиммелкрон
• Статья о церковных и могильных тарелках на Foracheim