[1] The Canons Regular of the Order of the Holy Cross (Latin: Ordo Sanctae Crucis, OSC) was founded around 1210 in the city of Huy, some 30 km south-west of Liège in present-day Belgium.

In 1436 Gilles donated five houses with gardens at Kommel, as well as some money, to the superior general of the Crosiers, stipulating that this was to be used for founding a new monastery in Maastricht.

[notes 3] John of Heinsberg, bishop of Liège, did so in January 1438, allowing the Crosiers to build a walled monastery, including a church, a bell tower, a dormitorium, gardens and a cemetery.

In 1581 prior Hubertus of Stavelot sold some of the Crosiers' possessions in order to pay for the repair of the monastery buildings (including the partial renewal of the church's vaults).

[16][17] In 1629 a high ransom was paid for prior Martinus Pauli who had been captured by Dutch militia near Liège and was kept prisoner in Emmerich.

[24] Later, probably from the 16th century onward, priors were chosen by the so-called house chapter, made up of all priests (friars who had taken holy orders) and presided by the magister general from Huy.

Under French law, those that wanted to remain active as priests had to swear the so-called Oath of Hatred (towards the monarchy and anarchy).

One fled to Germany, another was allowed to return home after he got sick during the voyage, and others were pardoned after interference by the Francophile barrister Charles Roemers.

[28] In the 19th century the decaying complex – the only medieval monastery that had escaped destruction – inspired local artists as Philippe van Gulpen (1792-1862) and Alexander Schaepkens (1815-1899).

[29] From 1897 onward, the National Agricultural Testing Station ("Rijkslandbouwproefstation") gradually moved into the monastery wings, after restoration by chief government architect Jacobus van Lokhorst.

[34] In 2000 the city of Maastricht sold the complex to local entrepreneur Camille Oostwegel, who already owned several luxury hotels and restaurants in the South Limburg region.

As the building is a rijksmonument, all constructive elements such as the two mezzanines in the church, as well as the entrances, walkways, glass elevators, reception areas and toilets had to be reversible ('box in box' principle).

At the opening ceremony of the Kruisherenhotel on 1 September 2005, the superior general of the Crosier Order, Rein Vaanhold, said in his speech that the new purpose of the building was consistent with its historical function: making guests feel welcome.

The main depiction portrays eight scenes from the life of Saint Gertrude: six within a pointed arch on the south wall of the chapel; the other two (originally four?)

The massive late-Gothic capitals that adorn the composite columns between the nave and the north aisle, are impressive both in size and skill.

It probably refers to a Vidimus (Latin: "we have seen") of 1482, in which the dean of St. Servatius confirmed a privilege of Pope John XXII of 1318, allowing the Crosiers to celebrate mass, collect money, etc.

[notes 10] The ledger stone of Elisabeth and Vaes Nuellens from 1510 is decorated with the Lamb of God and the Four Evangelists' symbols in the corners.

[notes 12] Against a wall in the south-east chapel stands a ledger stone of 1639 with the damaged coat of arms of Lysbeth Coenegracht, widow of Herman Jekermans.

[notes 15] The third stone along this wall also dates from the 17th century and was part of the grave of mayor Andries van Stockhem and his wife Catharine.

Pointed Gothic windows, partly dating from the 15th century, appear on the ground floor of the south and east wing, and in the stepped gables.

A modern staircase leads to a fire escape tunnel that goes under the south wing of the cloisters, connecting the courtyard to the outside world.

[51] A light sculpture by Ingo Maurer in the shape of an illuminated vertical column filled with 3000 litres of water with silver dust has been temporarily removed because of malfunctioning.

The leaded glass windows date from the late 19th century and were possibly designed in the studios of Pierre Cuypers in Roermond.

The floor of the lavabo space in the south corridor consists of a large ledger stone from the 17th century that once covered the grave of the Alards family.

[notes 18] The public spaces and rooms of the Kruisherenhotel – fifty in the main building and ten in the Renaissance House and Casa Nova (see below) – were individually conceived by interior architect Henk Vos, who made use of furniture and lighting designs by Le Corbusier, Philip Starck, Marc Newson, Ingo Maurer and others.

The house is built in the local style of the Mosan Renaissance with alternating layers of brick and limestone, a stepped gable and bluestone door and window frames.

[57] With the help of the remaining fragments and the surviving contract, it is possible to make a fairly accurate reconstruction of the tabernacle tower.

[59] As evidenced in the bookkeeping records of the monastery, the Maastricht woodcarver Jan van Steffeswert received several commissions from the Crosiers between 1512 and 1516.

The book covers were made of calf leather with embossed decorations of lions, flowers, leaves or lozenge shapes.

His Novus orbis regionum ac insularium veteribus incognitarum, published in Basel in 1532, purchased and annotated by Proenen in 1533, and bound in the Crosiers' own bookbindery, is now in the collection of the city library in Maastricht (Centre Céramique, CC).