The Museum Schnütgen has a valuable collection of medieval art on exhibit in one of Cologne’s oldest churches. Many of the works are in and of themselves already worth a trip, such as the radiant Parler Bust, the expressive Crucifix from St. Georg and the unique so-called Comb of St. Heribert, a filigree ivory carving.
Adult ticket permanent collection: 6 €, concession: 3.50 €
Combo ticket Museum Schnütgen and Rautenstrauch-Joest-Museum: 10 €, concession: 7 €
Group rate permanent collection (from 10 persons): 3.50 € per person
Concession tickets: for students
Free admission: for children under 6 years of age when accompanied by an adult, school students, apprentices, Cologne residents under 18 years of age, holders of the Köln-Pass and for Friends of the Museum.
The scope of the collection ranges from wooden and stone sculptures, valuable works of the goldsmith’s art and stained glass to rare ivories and textiles.
A distinctive feature of the museum is its largest exhibition space, which dates back over 1,000 years. The stillness and aura of the Romanesque Church of St. Cecilia and the special proximity to the works make it possible to experience their spiritual vibrancy and beauty.
The museum regularly places key works from all parts of the collection in new contexts within the permanent exhibition. It is thus worth returning again and again, as the collection will always have something new to discover.
Museum guests can also visit the museum’s garden. Enclosed by cut yew hedges, it offers a place of peace and contemplation.
“Museum Schnütgen – A Survey of the Collection”, published by Hirmer Verlag in 2018, offers a representative impression of the range and quality of the Museum Schnütgen’s collection. The volume is available in German and English editions in the museum shop and in bookshops.
Console bust with the Parler coat of arms, Cologne, around 1390
The bust of a young woman served as a wall console. Presumably, she carried a statue of Mary. The foliage of her crown of leaves can be interpreted as mugwort, a plant that was associated with Our Lady. Assuming that a statue of Mary was placed on the console, the bust could be interpreted as representing Eve, since Mary was understood to be the "new Eve." The work was carved from a single block of stone, including the high crown of leaves. The young woman bears on her chest the coat of arms of the Parler family - a family of famous sculptors and architects who worked, among other things, on Cologne Cathedral. The coat of arms indicates that its creator and donor was a member of the Parler family. Whether the bust was to be used in Cologne Cathedral or in another Cologne church is no longer known.
So-called Comb of St. Heribert, Metz, c. 870
This comb was not an everyday object, which can be seen from the precious carving. Such combs were used when anointing a king or consecrating a bishop. Priests used a comb to arrange their hair after putting on the vestments for mass. In addition to this practical use, the comb had a symbolic function. The arranging of the hair served as a sign of purification and order of thoughts. This comb is a delicate carving of ivory. In the center is Jesus on the cross. Roman soldiers kneel on either side: Stephaton with the vinegar sponge and Longinus with the spear. Mary and John stand to the left and right of the action.
Over the centuries, the name "Crest of St. Heribert" has become common. This important archbishop of Cologne, who was in office at the turn of the first and second millennium, was canonized after his death. Whether the comb actually belonged to him, however, cannot be answered with certainty.
Alabaster reliefs depicting the Annunciation to Mary, France or Burgundian Netherlands, c. 1410-1420.
The two reliefs date from the 15th century, the heyday of alabaster sculpture. Alabaster is softer than marble or limestone and can be worked particularly finely. In the early 15th century, the material was very popular with princely and ecclesiastical patrons. It was used, for example, to decorate tombs and altars. The two reliefs are among the most precious testimonies of their time. In their representation they form a unity. The Annunciation of the Archangel Gabriel to Mary can be seen. Both figures are surrounded by a Gothic frame, a so-called quatrefoil. Within this framing, the picture fields are characterized by the airy play of the robes and banners. The bodies of the figures are hardly recognizable under the robes. Mary in particular appears like a weightless celestial apparition. It is certain that both reliefs were placed on a base. From which context they originate and whether they were connected with other representations is no longer known. In any case, the reliefs belonged to a precious piece of equipment in the interior of a church, for example, an altar retable.
Sword from St. George in Cologne, Cologne, 1st half 14th century; blade: Italy, 14th century (?)
The sword of St. George is one of the most precious relics of the Collegiate Church of St. George in Cologne. According to legend, St. George killed a dragon with this sword. The elegant sword bears unusually precious decorations: The pommel and scabbard are decorated with silver enamels. The special feature of these enamels is that the silver shines through as the base material. This gives the depiction its particularly light and delicate expression. The motif on both sides of the pommel is a colorful butterfly in front of a blue background; unfortunately, the colors of the wings are lost. The butterfly was understood as a symbol of resurrection. This sword was certainly never used for fighting, its design is much too precious for that. Rather, it served as a relic and perhaps also as a symbol of judicial power. The provosts of St. George possessed the right to hold their own court hearings and pass judgements.
Crucifixus from St. George in Cologne, Cologne, last third 11th century
The sculpture of the Crucified is one of the most important medieval sculptures in Cologne. It comes from the former collegiate church of St. George. It was probably donated by Archbishop Anno, who founded the church in 1064. He founded the church in 1064, and the figure of the Crucified also dates from this time. Although the feet and arms are lost, the high quality of the sculpture is still recognizable. A gentle movement characterizes the entire figure. The hard folds of the loincloth contrast with the soft shape of the upper body. The loincloth was once brightly colored: lapis lazuli blue with a yellow-red hemline. The crucified man bows his head downwards, his facial features are particularly expressive. No doubt the figure was worked to be placed in an elevated position and viewed from below. Whether the crucified was erected on a column or on a raised beam in the church interior must remain open.
