Hand axe (140.000 - 43.000 BC) by unknownGermanisches Nationalmuseum, Nuremberg
Hand axes tell from the dawn of human history. Stone tools crafted on both sides like this one started to be used in Europe some 600,000 years ago.
Engravings of horses' heads (13.000 - 10.000 BC) by unknownGermanisches Nationalmuseum, Nuremberg
The two around 15,000 years old slates are artistically engraved with images of horse heads. The great majority of early artistic depictions of the environment such as these only came from "Homo Sapiens".
Golden Hat View at the Golden Hat in the permanent exhibition "pre- and protohistory"Germanisches Nationalmuseum, Nuremberg
This remarkable golden hat was discovered some 20 kilometres from Nuremberg in Ezelsdorf-Buch. It is made from very pure gold that would only be about the size of a matchbox if it was melted down.
Golden Hat Detail / Golden HatGermanisches Nationalmuseum, Nuremberg
The prevailing thinking is that the disc-shaped motifs on the golden hat represent sun symbols. The hat probably was worn by a priest or similar important figure in sun worship ceremonies or rituals.
Golden Hat Golden Hat (13th century b.c. - 9th century b.c.) by unknownGermanisches Nationalmuseum, Nuremberg
We know of imagery from the Middle East and Scandinavia depicting clerical figures wearing tall, pointed hats similar to this one. This demonstrates that cultural exchange spanning great distances was already possible in prehistory.
Eagle-shaped fibula Eagle-shaped fibula (Migration Period) by unknownGermanisches Nationalmuseum, Nuremberg
The "Domagnano Treasure": this eagle fibula is part of a 21-pieces jewellery ensemble and one of the most important treasure finds from the Migration Period.
Eagle-shaped fibula Visualization of how the fibula was wornGermanisches Nationalmuseum, Nuremberg
Fibulas served to fasten the cloak of noblewomen and were worn in pairs. The matching counterpart of this fibula from the time around 500 is kept in the Louvre Abu Dhabi.
ostensorium ostensorium (2nd half 14th century) by workshop of the antiquarian Salomon WeiningerGermanisches Nationalmuseum, Nuremberg
An ostensorium is a special kind of display fixture used for presenting religious relics on special occasions. This one is made of a vertical rock crystal ring, mounted on a golden base.
Arabic inscriptions reveal the islamic context. The rock crystal represents a crescent moon and once sat atop the "minbar", an islamic pulpit in a mosque. Venetian goldsmiths integrated the crystal into a Christian relic casing.
crucifix from the Collegiate Chruch of St. Maria in Kapitol in Cologne (around 1160) by unknownGermanisches Nationalmuseum, Nuremberg
This monumental crucifix was originally located in Cologne, Germany in the "St. Mary's in the Capitol" church. Older depictions show Christ triumphing over death while still on the cross. This one suffers.
In the 12th century the image of Christ was fundamentally changing. The pictorial depiction transformed in the Late Middle Ages from the divine Christ triumphing over death to a human Christ enduring pain.
Tomb figure of Earl Heinrich III from Sayn (around 1247/48) by unknownGermanisches Nationalmuseum, Nuremberg
More than 750 years old, this tomb sculpture of the Count von Sayn is the oldest wooden tomb sculpture that we know of. It was carved from a single oak tree trunk. It is also remarkable because it depicts both father and daughter together.
The father lovingly protects the child by his right hand. This is no simple gesture of love, it confirms the rightful inheritance claims of the daughter who was born after the death of the Count.
Mary and Elizabeth (around 1400/10) by unknownOriginal Source: permanent loan of the City of Nuremberg
This panel was part of an altar retable installed in Nuremberg's Church of Our Lady around the year 1400. The congregations would normally see the closed side, but on holidays the retable would be opened to present this rarely-seen motive.
Mary, holding a distaff and a spindle, wears a golden belt. This beld is special, representing one of the most important relics at the Church of Our Lady. On major religious holidays the actual relic was shown and the retable was opened.
Allegory of courtly love (around 1400) by unknownGermanisches Nationalmuseum, Nuremberg
This tapestry, known as the "Courtly Games Tapestry", is an outstanding example of late medieval textiles: In a garden landscape amidst various buildings, almost 50 people can be seen, men and women grasping and grappling with one another in games rife with ambiguity.
Extravagant details such as the pointy poulaine shoes, the multicoloured tights and the flamboyant belts show elements of the fashion favoured by the nobility of the time. While this is hardly an authentic portrayal of real life at court, the erotic games symbolise the refined concept of courtly love.
Reliquary Shrine (1438 - 40) by Goldsmith work: Hans Scheßlitzer, Peter Ratzko; carpenter work: Hans Nuremberger; Painting: Lucas NN, unknown brass casterOriginal Source: permanent loan of the evang.-luth. congregation of Nuremberg - St. Lorenz
This silver-encased shrine once contained two objects that embodied the Christian foundation of the imperial claim to power: the Holy Lance and the True Cross. In 1424 Emperor Sigismund had them brought to Nuremberg for safekeeping along with the imperial Regalia including the crown and sword.
The Emperor Charlemagne (1511/13) by Albrecht DuererOriginal Source: permanent loan of the City of Nuremberg
This is Albrecht Duerer's famous Emperor Painting of Charlemagne with his sword. The panel is related to the Reliquary Shrine. The night before the presentation of the Imperial Regalia they were stored in a cabinet.
This wood panel formed, together with a panel showing Emperor Sigismund, the interior side of the cabinet doors. Charlemagne was selected because he was the founder of the "Reich" and the first Medieval Emperor.
The Emperor Sigismund (1511/13) by Albrecht DuererOriginal Source: permanent loan of the City of Nuremberg
Emperor Sigismund was chosen because he had entrusted the Imperial Regalia to the safekeeping of the city of Nuremberg. In 1783 they were moved to Vienna to prevent them falling into Napoleon's hands. Only the shrine was left behind in Nuremberg.
Martin Luther as an Augustinian Monk (after 1546) by Lucas Cranach the ElderOriginal Source: permanent loan of the Paul Wolfgang Merkel'schen Familienstiftung
This portrait was made by Luther's friend Lucas Cranach the Elder. His effigies played a major role in establishing Luther's image as a reformer.
The media marketing of Luther as an important figure was highly professionally, and he could well be said to be one of the first media stars in history.
Behaim Globe (1492/94) by Martin Behaim, Georg Glockendon the ElderGermanisches Nationalmuseum, Nuremberg
The Behaim Globe is the world's oldest orb-shaped depiction of the earth. It was commissioned in 1492, the same year that Columbus set off unwittingly toward America. This is why on this globe the entire American continent is missing.
Originally the globe's oceans were a luminous blue colour and the continents were white. Today, also as a result of earlier poorly executed restorations, the colours have darkened. That is why the Behaim Globe in the museum has to be presented in dimmed lighting.
The globe cites some 2,000 locations and many events and occurences. Texts document for example a transport of goods from Asia to Nuremberg, meticulously noting precisely how much profit each broker made along the way.
To a certain degree one can denote a kind of economic plea from the globe to the city's business leaders, urging them to build their own ships for transport back and forth from Asia. It's no coincidence either that in its early days the globe was conspicuously exhibited in Nuremberg's city hall.
Germania (1848) by Philipp VeitGermanisches Nationalmuseum, Nuremberg
At almost five metres in height, Philipp Veit's painting "Germania" once hung above the pulpit at St. Paul's Church in Frankfurt. Germany's first National Assembly gathered in the church from 1848 to 1849 and drew up a constitution.
The "Germania" presents the German nation. She stands with her flag and sword before the rising sun as a symbol of hope. The double-headed eagle is a reference to the old empire, while the flag in the national colours represent the new, all-German concept.
Broken shackles lie at her feet symbolising the desire to break free from royal dominion.
