How did antiquity become the common
heritage of (Western) Europe?
Why do ancient depictions adorn medieval treasures?
Why were the Middle Ages much more progressive than we think?
Who are the custodians of antiquity and what challenges do they face?
Under the spell of antiquity
A think tank of the Middle Ages marks the starting point of the exhibition in the Paderborn Diocesan Museum; formerly the Corvey Monastery that was founded 1,200 years ago and has been a UNESCO World Heritage Site for the last 10 years. Back then, it was monasteries that preserved the ancient knowledge that still shapes us today. The numerous fascinating exhibits in the exhibition vividly show how ancient cultural techniques – especially reading and writing – and ideas about politics, law, art and science were transmitted in the Middle Ages. Monks reproduced ancient documents, craftsmen reworked ancient originals or integrated them into their own works. Captured and shaped by the spirit of the times, such treasures reveal narratives that continue to puzzle us even today.
More than 120 fascinating artefacts on loan from European museums, libraries and archives
will be on display in Paderborn, accompanied by insights into the work of the curators and research scholars who are preserving our ancient heritage today. The calligrapher and artist Brody Neuenschwander will also bring the diversity of writing cultures to life in impressive visual interventions. A richly illustrated catalogue will be published and there will be an extensive programme of events.
The exhibition is under the patronage of the Federal President of Germany, Frank-Walter Steinmeier.
Under the spell of antiquity
A think tank of the Middle Ages marks the starting point of the exhibition in the Paderborn Diocesan Museum; formerly the Corvey Monastery that was founded 1,200 years ago and has been a UNESCO World Heritage Site for the last 10 years. Back then, it was monasteries that preserved the ancient knowledge that still shapes us today. The numerous fascinating exhibits in the exhibition vividly show how ancient cultural techniques – especially reading and writing – and ideas about politics, law, art and science were transmitted in the Middle Ages. Monks reproduced ancient documents, craftsmen reworked ancient originals or integrated them into their own works. Captured and shaped by the spirit of the times, such treasures reveal narratives that continue to puzzle us even today.
More than 120 fascinating artefacts on loan from European museums, libraries and archives
will be on display in Paderborn, accompanied by insights into the work of the curators and research scholars who are preserving our ancient heritage today. The calligrapher and artist Brody Neuenschwander will also bring the diversity of writing cultures to life in impressive visual interventions. A richly illustrated catalogue will be published and there will be an extensive programme of events.
The exhibition is under the patronage of the Federal President of Germany, Frank-Walter Steinmeier.
Unique treasures and multimedia installations
The exhibition brings together numerous fascinating exhibits. The impressive Burse reliquary originally came from the treasury of the monastery in Enger and is one of the most important examples of medieval goldsmith’s art today. It comes from the collection of the Museum of Decorative Arts, one of the State Museums in Berlin. A famous manuscript containing the Annals of Tacitus (* ca. 58, † ca. 120) will come to Paderborn from the Biblioteca Medicea Laurenziana in Florence. A statue of a female bear is on loan from the Aachen Cathedral Treasury – the approximately 2,300 year-old Greek bronze figure may have been brought to his court by Charlemagne. The Musée de La Cour d’Or in Metz is sending the surviving parts of the richly decorated sarcophagus of Louis the Pious, son of Charlemagne, and the famous Abbey Library of St. Gall will be lending precious fragments of a manuscript by the Roman poet Virgil.
Unique treasures and multimedia installations
The exhibition brings together numerous fascinating exhibits. The impressive Burse reliquary originally came from the treasury of the monastery in Enger and is one of the most important examples of medieval goldsmith’s art today. It comes from the collection of the Museum of Decorative Arts, one of the State Museums in Berlin. A famous manuscript containing the Annals of Tacitus (* ca. 58, † ca. 120) will come to Paderborn from the Biblioteca Medicea Laurenziana in Florence. A statue of a female bear is on loan from the Aachen Cathedral Treasury – the approximately 2,300 year-old Greek bronze figure may have been brought to his court by Charlemagne. The Musée de La Cour d’Or in Metz is sending the surviving parts of the richly decorated sarcophagus of Louis the Pious, son of Charlemagne, and the famous Abbey Library of St. Gall will be lending precious fragments of a manuscript by the Roman poet Virgil.
The exhibition catalogue
A richly illustrated exhibition catalogue provides readers with the latest findings of European scholars on the representation of antiquity in the Carolingian period, as well as offering an impressive panorama of fascinating exhibits from antiquity to the Middle Ages.
Corvey und das Erbe der Antike (Corvey and the Heritage of Antiquity)
ca. 500 pages, numerous coloured illustrations
Michael Imhof Verlag
39.95 € in the museum | 49.95 € in bookshops
ISBN-No.: 978-3-7319-1425-9
With contributions from: Isabelle Bardiès-Fronty | Clemens Bayer | Sible de Blaauw | Vera Brieske | Patrizia Carmassi | Cornel Dora | Caspar Ehlers | Birgitta Falk | Sveva Gai | Ingo Herklotz | Aaron Jochim | Mayke de Jong | Karen Keller | Dorothee Kemper | Holger Kempkens | Konstantin Klein | Lothar Lambacher | Ulrich Lehmann | Manfred Luchterhand | Susanne Moraw | Stephan Müller | Joshua O’Driscoll | Annika Pröbe | Hedwig Röckelein | Christiane Ruhmann | Barbara Schellewald | Christoph Stiegemann | Hans Walter Stork | Karin Wermert | Harald Wolter von dem Knesebeck
The exhibition catalogue
A richly illustrated exhibition catalogue provides readers with the latest findings of European scholars on the representation of antiquity in the Carolingian period, as well as offering an impressive panorama of fascinating exhibits from antiquity to the Middle Ages.
Corvey und das Erbe der Antike (Corvey and the Heritage of Antiquity)
ca. 500 pages, numerous coloured illustrations
Michael Imhof Verlag
39.95 € in the museum | 49.95 € in bookshops
ISBN-No.: 978-3-7319-1425-9
With contributions from: Isabelle Bardiès-Fronty | Clemens Bayer | Sible de Blaauw | Vera Brieske | Patrizia Carmassi | Cornel Dora | Caspar Ehlers | Birgitta Falk | Sveva Gai | Ingo Herklotz | Aaron Jochim | Mayke de Jong | Karen Keller | Dorothee Kemper | Holger Kempkens | Konstantin Klein | Lothar Lambacher | Ulrich Lehmann | Manfred Luchterhand | Susanne Moraw | Stephan Müller | Joshua O’Driscoll | Annika Pröbe | Hedwig Röckelein | Christiane Ruhmann | Barbara Schellewald | Christoph Stiegemann | Hans Walter Stork | Karin Wermert | Harald Wolter von dem Knesebeck
Spatial installations by Brody Neuenschwander
The calligrapher and artist Brody Neuenschwander brings the diversity of writing cultures to life in the form of impressive spatial installations.
Brody Neuenschwander is one of the most important calligraphers of our time. He was born in Houston/Texas in 1958. He studied art history at Princeton University and completed his doctorate at the Courtauld Institute in London. He then worked for a year as an assistant to the calligrapher Donald Jackson. His collaboration with the British film director and experimental artist Peter Greenaway began in the early 1990s and led to an intensive exploration of central questions on the art of calligraphy. Today Neuenschwander’s work far surpasses the conventional definitions of calligraphy.
His work has been commissioned by the Rijksmuseum Amsterdam and the Jewish Museum Berlin, among others. He has implemented a number of projects at the Paderborn Diocesan Museum. These include the art project A brush with silence.
Spatial installations by Brody Neuenschwander
The calligrapher and artist Brody Neuenschwander brings the diversity of writing cultures to life in the form of impressive spatial installations.
Brody Neuenschwander is one of the most important calligraphers of our time. He was born in Houston/Texas in 1958. He studied art history at Princeton University and completed his doctorate at the Courtauld Institute in London. He then worked for a year as an assistant to the calligrapher Donald Jackson. His collaboration with the British film director and experimental artist Peter Greenaway began in the early 1990s and led to an intensive exploration of central questions on the art of calligraphy. Today Neuenschwander’s work far surpasses the conventional definitions of calligraphy.
His work has been commissioned by the Rijksmuseum Amsterdam and the Jewish Museum Berlin, among others. He has implemented a number of projects at the Paderborn Diocesan Museum. These include the art project A brush with silence.
The court of the Carolingian rulers in Aachen plays an important role in the exhibition. This is where the plan to establish Corvey was made and where diplomatic exchanges took place with the whole of Europe and beyond – including Byzantium and the Eastern Roman Empire. The court was the centre of scholarly debate on antiquity and was regarded as the “New Rome” north of the Alps. In this sense, the bear can be seen as an important symbol, which probably explains why Napoleon’s art commissioners “kidnapped” it to Paris at the end of the 18th century. Its front paws were damaged in the process and later replaced with wolf paws. At the time it was more likely to be regarded as Lupa, the she-wolf who suckled Romulus and Remus, the mythical founders of the city of Rome. The history of this sculpture is an example of how each era has reinterpreted and perpetuated the ancient legacy – from the Middle Ages through subsequent generations to the present day.
Exhibition section: The Carolingians and antiquity
The court of the Carolingian rulers in Aachen plays an important role in the exhibition. This is where the plan to establish Corvey was made and where diplomatic exchanges took place with the whole of Europe and beyond – including Byzantium and the Eastern Roman Empire. The court was the centre of scholarly debate on antiquity and was regarded as the “New Rome” north of the Alps. In this sense, the bear can be seen as an important symbol, which probably explains why Napoleon’s art commissioners “kidnapped” it to Paris at the end of the 18th century. Its front paws were damaged in the process and later replaced with wolf paws. At the time it was more likely to be regarded as Lupa, the she-wolf who suckled Romulus and Remus, the mythical founders of the city of Rome. The history of this sculpture is an example of how each era has reinterpreted and perpetuated the ancient legacy – from the Middle Ages through subsequent generations to the present day.
Exhibition section: The Carolingians and antiquity
The abbots of Corvey Abbey had extensive connections to Rome and Byzantium and numbered among the scholars of the Carolingian court. They turned the remote abbey on the bend of the Weser into a centre for the dissemination of ancient writing, architecture and wall paintings. The capitals on the ground floor hall of the preserved Westwerk reflect the formal language of antiquity, as do the fragments of the ornamental friezes. However, the most impressive example of this is the unique inscription panel on the outer façade, which was replaced by a copy in the 20th century. The precious original will be on display in the exhibition.
The Corvey Westwerk has been a UNESCO World Heritage Site for the last 10 years and preserving it is a major challenge for the team of experts working there. State-of-the-art techniques are used in the conservation and restoration work, as well as in preparing its accessibility to visitors. The history of the site and its ancient heritage are presented in a multimedia, interactive manner.
Exhibition section: Foundation of a monastery in Corvey
The abbots of Corvey Abbey had extensive connections to Rome and Byzantium and numbered among the scholars of the Carolingian court. They turned the remote abbey on the bend of the Weser into a centre for the dissemination of ancient writing, architecture and wall paintings. The capitals on the ground floor hall of the preserved Westwerk reflect the formal language of antiquity, as do the fragments of the ornamental friezes. However, the most impressive example of this is the unique inscription panel on the outer façade, which was replaced by a copy in the 20th century. The precious original will be on display in the exhibition.
The Corvey Westwerk has been a UNESCO World Heritage Site for the last 10 years and preserving it is a major challenge for the team of experts working there. State-of-the-art techniques are used in the conservation and restoration work, as well as in preparing its accessibility to visitors. The history of the site and its ancient heritage are presented in a multimedia, interactive manner.
Exhibition section: Foundation of a monastery in Corvey
Medieval monasteries were not only places of prayer and writing, but also centres of technical innovation. The exhibition uses unusual items, such as this golden reliquary in the shape of a bag, to show how ancient craft techniques were revitalised in the Middle Ages. The precious Burse from the Dionysius treasure of the former Enger Abbey dates back to the 8th century. It is one of the most important works of medieval goldsmith’s art that have survived from the early Middle Ages and is a highlight of the exhibition. Alongside questions of its reception in antiquity, it is also associated with legends. After his final submission to the Carolingians, the Saxon Duke Widukind is said to have received the Burse as a baptismal gift from Emperor Charlemagne.
The Burse is currently being jointly researched and restored for the exhibition by the Paderborn Diocesan Museum, the Museum of Decorative Arts at the State Museums in Berlin and the Ernst von Siemens Art Foundation.
Exhibition section: Expanding knowledge in the monastic landscape of Westphalia
Medieval monasteries were not only places of prayer and writing, but also centres of technical innovation. The exhibition uses unusual items, such as this golden reliquary in the shape of a bag, to show how ancient craft techniques were revitalised in the Middle Ages. The precious Burse from the Dionysius treasure of the former Enger Abbey dates back to the 8th century. It is one of the most important works of medieval goldsmith’s art that have survived from the early Middle Ages and is a highlight of the exhibition. Alongside questions of its reception in antiquity, it is also associated with legends. After his final submission to the Carolingians, the Saxon Duke Widukind is said to have received the Burse as a baptismal gift from Emperor Charlemagne.
The Burse is currently being jointly researched and restored for the exhibition by the Paderborn Diocesan Museum, the Museum of Decorative Arts at the State Museums in Berlin and the Ernst von Siemens Art Foundation.
Exhibition section: Expanding knowledge in the monastic landscape of Westphalia
One of the most enigmatic works in Corvey Monastery is part of a programme of paintings depicting stories from the Odyssey. It has been preserved in fragments in the St John’s Choir of the Westwerk which dates back to the 9th century. Although time has taken its toll on this painting, the adventures of Odysseus with the Sirens and the sea monster Scylla are still clearly recognisable. How did this legend make it into the Middle Ages? How did the ancient material, which was initially passed on orally in ancient Greece, spread to a wide variety of cultures? How is it that a part of an ancient heroic epic is still synonymous with flight and wayfaring today? The exhibition will explore these questions in different ways. In the final section of the exhibition, the renowned artist and calligrapher Brody Neuenschwander will also address these questions.
Exhibition section: The Carolingians and antiquity
One of the most enigmatic works in Corvey Monastery is part of a programme of paintings depicting stories from the Odyssey. It has been preserved in fragments in the St John’s Choir of the Westwerk which dates back to the 9th century. Although time has taken its toll on this painting, the adventures of Odysseus with the Sirens and the sea monster Scylla are still clearly recognisable. How did this legend make it into the Middle Ages? How did the ancient material, which was initially passed on orally in ancient Greece, spread to a wide variety of cultures? How is it that a part of an ancient heroic epic is still synonymous with flight and wayfaring today? The exhibition will explore these questions in different ways. In the final section of the exhibition, the renowned artist and calligrapher Brody Neuenschwander will also address these questions.
Exhibition section: The Carolingians and antiquity
The medieval monastery of Corvey was a centre of knowledge, and preserved important Christian texts as well as writings by such ancient authors as Virgil, Sallust, Livy, Pliny and Ovid. Many of these writings are only known to us today because they were copied by monks in the Middle Ages. The exhibition brings to life the lost Corvey library, in which the only copy of the Annals of the Roman writer Tacitus was preserved. It tells of the defeat of the Roman general Varus in the year 9 AD against the Cheruscan prince Arminius. The only reason the Teutoburg Forest is known to us as a battle site is because of Tacitus. In the 16th century, the Annals were taken to Italy by learned book thieves and ended up in the hands of Giovanni de’ Medici, who later became Pope Leo X. He had them printed and as a result they found their way into Latin lessons. A film installation by the artist and calligrapher Brody Neuenschwander gives visitors an insight into the creative process of the scribal monks.
Exhibition section: Writing – Language – Scholarship. Corvey library and scriptorium
The medieval monastery of Corvey was a centre of knowledge, and preserved important Christian texts as well as writings by such ancient authors as Virgil, Sallust, Livy, Pliny and Ovid. Many of these writings are only known to us today because they were copied by monks in the Middle Ages. The exhibition brings to life the lost Corvey library, in which the only copy of the Annals of the Roman writer Tacitus was preserved. It tells of the defeat of the Roman general Varus in the year 9 AD against the Cheruscan prince Arminius. The only reason the Teutoburg Forest is known to us as a battle site is because of Tacitus. In the 16th century, the Annals were taken to Italy by learned book thieves and ended up in the hands of Giovanni de’ Medici, who later became Pope Leo X. He had them printed and as a result they found their way into Latin lessons. A film installation by the artist and calligrapher Brody Neuenschwander gives visitors an insight into the creative process of the scribal monks.
Exhibition section: Writing – Language – Scholarship. Corvey library and scriptorium
If you want to get an idea of the defunct monastery library in Corvey, you have to visit the Abbey Library in St. Gallen in Switzerland. Since the monastery was founded in the 8th century, it has been a centre of written culture, learning and the transmission of ancient texts. Copies of some of the works of astrologers, philosophers and poets of antiquity have been preserved here. The oldest manuscripts date back to the 5th century – two of them are on display in the exhibition. One is a fragment of the Aeneid by Virgil (70-19 BC). Based on Homer’s Odyssey, this Roman poet sang about the fate of Aenaeas who fled the burning city after the end of the Trojan War. After a long odyssey, he reached Italy and became the founding father of Rome. The second manuscript lent to Paderborn impressively illustrates the fate of ancient texts. Copies of ancient authors were “erased” here in the 8th century and overwritten with a dictionary. Both layers of writing can still be clearly recognised today.
Exhibition section: Writing – Language – Scholarship. Corvey library and scriptorium
If you want to get an idea of the defunct monastery library in Corvey, you have to visit the Abbey Library in St. Gallen in Switzerland. Since the monastery was founded in the 8th century, it has been a centre of written culture, learning and the transmission of ancient texts. Copies of some of the works of astrologers, philosophers and poets of antiquity have been preserved here. The oldest manuscripts date back to the 5th century – two of them are on display in the exhibition. One is a fragment of the Aeneid by Virgil (70-19 BC). Based on Homer’s Odyssey, this Roman poet sang about the fate of Aenaeas who fled the burning city after the end of the Trojan War. After a long odyssey, he reached Italy and became the founding father of Rome. The second manuscript lent to Paderborn impressively illustrates the fate of ancient texts. Copies of ancient authors were “erased” here in the 8th century and overwritten with a dictionary. Both layers of writing can still be clearly recognised today.
Exhibition section: Writing – Language – Scholarship. Corvey library and scriptorium
This marvellously crafted marble sarcophagus from a Roman workshop from the end of the 4th century contained the body of Emperor Louis the Pious (the founder of Corvey and son of Charlemagne), in the 9th century. It depicts the flight of the Israelites from the Egyptian Pharaoh through the Red Sea. The family of Moses can be seen reaching the shore safely after the miraculous parting of the Red Sea. The other end depicts the troops of the Egyptian king drowning in the floods. Miriam, Moses’ sister, is depicted at the far edge. Her tambourine is “Christianised” by a sign of the cross, similar to the one that appeared to Constantine the Great in a dream before the Battle of the Milvian Bridge: this was seen by him as a symbol of the victory of Christianity over pagan religions. The rulers of the Frankish Empire – like Charlemagne and his son Louis the Pious – also considered themselves part of the Constantinian tradition.
During its chequered history, the sarcophagus was badly damaged. Today it is preserved in the Musée de La Cour d’Or in Metz.
Exhibition section: The Carolingians and antiquity
This marvellously crafted marble sarcophagus from a Roman workshop from the end of the 4th century contained the body of Emperor Louis the Pious (the founder of Corvey and son of Charlemagne), in the 9th century. It depicts the flight of the Israelites from the Egyptian Pharaoh through the Red Sea. The family of Moses can be seen reaching the shore safely after the miraculous parting of the Red Sea. The other end depicts the troops of the Egyptian king drowning in the floods. Miriam, Moses’ sister, is depicted at the far edge. Her tambourine is “Christianised” by a sign of the cross, similar to the one that appeared to Constantine the Great in a dream before the Battle of the Milvian Bridge: this was seen by him as a symbol of the victory of Christianity over pagan religions. The rulers of the Frankish Empire – like Charlemagne and his son Louis the Pious – also considered themselves part of the Constantinian tradition.
During its chequered history, the sarcophagus was badly damaged. Today it is preserved in the Musée de La Cour d’Or in Metz.
Exhibition section: The Carolingians and antiquity
This christening bowl combines legend and ancient origins like few other objects. The green serpentine is a work of ancient stone carving. The gilded bronze band probably dates back to the 12th century and bears the inscription “Africa presents us with such a magnificent and rare gift”. To this day, it is legendarily associated with the “Saxon Duke”. Widukind, the dux saxonum, led the resistance against Charlemagne between 777 and 785. The Franks, who were militarily superior, defeated the Saxons and christianised them.
Like the precious Burse and the Siren Aquamanile, the so-called baptismal bowl comes from the “Treasury of St Dionysius Abbey in Enger/Herford”. Today, they are both preserved and researched in the Museum of Decorative Arts, which is part of the State Museums in Berlin. The exhibition also examines the political conditions that led to the existence of such prestigious and extraordinary objects in a small Westphalian monastery.
Exhibition section: Expansion of knowledge in the Westphalian monastic landscape
This christening bowl combines legend and ancient origins like few other objects. The green serpentine is a work of ancient stone carving. The gilded bronze band probably dates back to the 12th century and bears the inscription “Africa presents us with such a magnificent and rare gift”. To this day, it is legendarily associated with the “Saxon Duke”. Widukind, the dux saxonum, led the resistance against Charlemagne between 777 and 785. The Franks, who were militarily superior, defeated the Saxons and christianised them.
Like the precious Burse and the Siren Aquamanile, the so-called baptismal bowl comes from the “Treasury of St Dionysius Abbey in Enger/Herford”. Today, they are both preserved and researched in the Museum of Decorative Arts, which is part of the State Museums in Berlin. The exhibition also examines the political conditions that led to the existence of such prestigious and extraordinary objects in a small Westphalian monastery.
Exhibition section: Expansion of knowledge in the Westphalian monastic landscape
Aquamaniles were used by people to wash their hands during liturgical ceremonies or before meals. Here the siren wears a crown-like headdress adorned with lilies, a Christian symbol of innocence and purity. In Greek mythology sirens were creatures that lured passing sailors with their beguiling song in order to kill them. This is also how the poet Homer describes them in the Odyssey. A scene from his ancient epic can be found in the Carolingian Westwerk of Corvey Monastery. There, the remains of the programme of images show Odysseus’ heroic battle with the sea monster Scylla and a long-haired siren – half woman, half bird.
This siren aquamanile – a superb work of medieval bronze casting – is part of the “Treasury of St Dionysius Abbey in Enger/Herford”. The small Westphalian monastery had powerful and generous patrons who donated outstanding artistic treasures from the Middle Ages. More of these can be seen in the exhibition.
Exhibition section: “I. Wibald von Stablot and the second flowering of Corvey”
Aquamaniles were used by people to wash their hands during liturgical ceremonies or before meals. Here the siren wears a crown-like headdress adorned with lilies, a Christian symbol of innocence and purity. In Greek mythology sirens were creatures that lured passing sailors with their beguiling song in order to kill them. This is also how the poet Homer describes them in the Odyssey. A scene from his ancient epic can be found in the Carolingian Westwerk of Corvey Monastery. There, the remains of the programme of images show Odysseus’ heroic battle with the sea monster Scylla and a long-haired siren – half woman, half bird.
This siren aquamanile – a superb work of medieval bronze casting – is part of the “Treasury of St Dionysius Abbey in Enger/Herford”. The small Westphalian monastery had powerful and generous patrons who donated outstanding artistic treasures from the Middle Ages. More of these can be seen in the exhibition.
Exhibition section: “I. Wibald von Stablot and the second flowering of Corvey”
An important factor in the dissemination of antique objects is their reuse in later centuries. Artfully crafted antique ivories such as this one, which bear lists of bishops on their rear sides or adorn book bindings, impressively demonstrate the value and relevance of such objects in the Middle Ages. The appearance of material from ancient mythology is not surprising, as the works of ancient poets and scholars were studied with great enthusiasm in the 9th century.
In addition to Adam and Eve, human figures with animal heads, wild animals, sirens and centaurs can be seen here. The ivory frame is extremely skilfully designed with finely carved acanthus leaves, flowers, bunches of greenery, birds and quadrupeds. The naturalist depiction of the animals, even the exotic ones, the precise details of the monsters and mythical creatures, which resemble classical antique images in every respect, and the elegant drawing of the foliage clearly demonstrate the interweaving of the Christian message with classical conceptions.
Exhibition section “The Carolingians and Antiquity”
An important factor in the dissemination of antique objects is their reuse in later centuries. Artfully crafted antique ivories such as this one, which bear lists of bishops on their rear sides or adorn book bindings, impressively demonstrate the value and relevance of such objects in the Middle Ages. The appearance of material from ancient mythology is not surprising, as the works of ancient poets and scholars were studied with great enthusiasm in the 9th century.
In addition to Adam and Eve, human figures with animal heads, wild animals, sirens and centaurs can be seen here. The ivory frame is extremely skilfully designed with finely carved acanthus leaves, flowers, bunches of greenery, birds and quadrupeds. The naturalist depiction of the animals, even the exotic ones, the precise details of the monsters and mythical creatures, which resemble classical antique images in every respect, and the elegant drawing of the foliage clearly demonstrate the interweaving of the Christian message with classical conceptions.
Exhibition section “The Carolingians and Antiquity”
The “Brooch of Dorestad” shown here is a good 1,200 years old, and a showpiece of treasure art. It is decorated with different coloured glass, enamels, almandine garnet and pearls. Christian motifs can also be recognised, in particular two superimposed crosses, which are reminiscent of the design of the Burse reliquary that is coming to Paderborn from the Berlin Museum of Decorative Arts. Moreover, the two items reveal significant parallels: the two prominent loans will be on display side by side in the exhibition for the first time in many years.
Exhibition section: Expanding knowledge in the monastic landscape of Westphalia
The “Brooch of Dorestad” shown here is a good 1,200 years old, and a showpiece of treasure art. It is decorated with different coloured glass, enamels, almandine garnet and pearls. Christian motifs can also be recognised, in particular two superimposed crosses, which are reminiscent of the design of the Burse reliquary that is coming to Paderborn from the Berlin Museum of Decorative Arts. Moreover, the two items reveal significant parallels: the two prominent loans will be on display side by side in the exhibition for the first time in many years.
Exhibition section: Expanding knowledge in the monastic landscape of Westphalia
The individual tour guide is responsible for the content of the guided tours; individual additional services are possible at any time and can be negotiated by your group with the exhibition guide.
The individual tour guide is responsible for the content of the guided tours; individual additional services are possible at any time and can be negotiated by your group with the exhibition guide.
| Tuesday – Sunday | 10 am – 6 pm |
| Every first Wednesday of the month | 10 am – 20 pm |
Open:
Tag der Deutschen Einheit, All Saints’ Day, Boxing Day, New Year’s Day,
| Monday – Friday | 9 am – 6:30 pm |
| Saturday | 9 am – 18 pm |
| Sunday | 10 am – 18 pm |
You will find more restaurants in the immediate vicinity of the museum.
| Standard | 12,00 € |
| Reduced* | 6,00 € |
| Family ticket (max. 2 adults, min. 1 child) | 17,00 € |
| Children up to and including 12 years |
| Students at Paderborn University (culture ticket) |
| School classes as part of booked programmes |
| Persons accompanying disabled persons |
| Members of religious orders |
*SGB II / SGB XII on presentation of proof, severely disabled people with a degree of disability (GdB) or more of 50 %
| Group guided tours*, 60 min:
60 € zzgl. plus reduced admission price |
| Group guided tours*, 90 min: 80 € plus reduced admission price |
| Maximum number of participants: 20. Bookable solely over Tourist Information Paderborn 0049 (0 )5251 881 29 800 | tourist-info@paderborn.de | info@paderborn.de |
| Public guided tours 3 € p.P. per head plus admission price | Sundays at 2:30 pm The following are solely posible via the museum’s bookable offers at 0049 (0)5251 125-1400 oder museum@erzbistum-paderborn.de |
| You can also visit Corvey Monastery Kloster Corvey: It can be reached in approx. 1 hour by car and in 1 hour and 20 minutes by public transport from Paderborn Link to the map (Google Maps) |
| *The individual tour guide is responsible for the content of the guided tours; individual additional services are possible at any time and can be negotiated by your group with the exhibition guide. |
| Archiepiscopal Diocesan Museum | Markt 17 | 33098 Paderborn | T: 0049 (0) 5251 125-1400 museum@erzbistum-paderborn.de |
| Arrival by car: Link to the map (Google Maps) More informationen here |
| Further information on parking, travelling by coach and overnight accommodation can be found here |
| Travelling by bus and train from Paderborn main station on foot, approx. 1.3 km from Paderborn main station with the Padersprinter buses on lines 2, 4, 8, 9; destination: Rathausplatz |
| Accessibility: The museum is not barrier-free. Only a few individual levels are accessible by lift. A solution is being worked on, but unfortunately it will not be ready for the current special exhibition. Please contact us if you have any questions. |
The Archiepiscopal Diocesan Museum Paderborn is the oldest in the German-speaking world. It was founded in 1853 and has one of the most extensive and important collections of Christian art in Germany. The constantly growing collection comprises more than 12,000 works from around 1,000 years. It specialises in sculpture and goldsmiths’ art from the Romanesque to the Baroque period. The museum is located in the centre of Paderborn next to the cathedral. It regularly presents major art and cultural-historical temporary exhibitions with loans from renowned museums and collections throughout Europe and overseas.
Corvey is considered to be one of several important monastery foundations in the Middle Ages. The Benedictine abbey near Höxter on the River Weser was an important spiritual, cultural and economic centre. The Carolingian Westwerk and the Civitas Corvey have been UNESCO World Heritage Sites since 2014. A team of scientific experts is working with the latest technical methods to preserve and open up the ensemble and its unique wall paintings. Visitor groups can immerse themselves in early medieval history on site using virtual presentations and augmented reality. An exhibition on the history of the monastery up to the Baroque period can also be visited in the castle rooms. Corvey is a good 60 kilometres away from Paderborn.
Contact & Address
Archiepiscopal Diocesan Museum
Markt 17
33098 Paderborn
T: 05251 125-1400
museum@erzbistum-paderborn.de
dioezesanmuseum-paderborn.de
Press contact
On behalf of the Diocesan Museum
Hendrik von Boxberg
+49 177 73 79 207
presse@dioezesanmuseum-paderborn.de,
presse@von-boxberg.de
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