Rheinisches Landesmuseum, Bonn

Exterior view of Bonn's Rheinisches Landesmuseum, reopened in 2003.

Our favorite theme in the museum, and also one of the largest and best.

Latin inscription on a Roman gravestone.

The Rheinisches Landesmuseum (Rhineland Regional Museum) in Bonn contains a fascinating array of religious treasures, along with many other exhibits on the Rhineland region. Founded by a Prussian prince in 1820 to display antiquities, the Rheinisches Landesmuseum reopened in 2003 with an ultra-modern building and a new thematic arrangement.

What to See

The permanent collections are arranged in 10 themes:

Epochen - Epochs of cultural history

Den Geheimnissen auf der Spur (Tracing Secrets)

Von den Göttern zu Gott (From Many Gods to One God)

Macht und Mächte (Might and Powers)

Das Rheinland und die Welt (The Rhineland and the World)

Von der Ur- zur Stadtlandschaft (From Unspoiled to City Landscape)

Leben – Schöner Leben (Life - The Good Life)

Drei Künstler (Three Artists) - Max Ernst, Leo Breuer, Hann Tier

Szene Rheinland (Rhineland Scene) - works of changing Rhenish artists

Wir Rheinländer (Us Rheinlanders)

The religion theme, Von den Göttern zu Gott, occupies an entire floor and is full of fascinating works of local religious art from various ages and faiths. Ancient Roman and medieval Christian artworks make up the bulk of the collection, with nature religion, Germanic paganism and Judaism also represented.

Below is a selection of some of the most interesting religious objects, presented in chronological order. The images link to larger versions and alternate views in our Bonn Rheinisches Landesmuseum Photo Gallery, a fully-captioned visual tour of the museum's magnificent religious treasures. Descriptions here and in the photo gallery are based on my own translations of the German museum labels, which may be imperfect! Scroll to the bottom of the page for a map and practical information on the museum.

	Pfalzfeld Column 5th/4th Century BC This ancient column was found in a cemetery in Pfalzfeld. Its original position is unknown, but it probably stood on a Celtic hill grave. The four human masks on the column and the hemispheric base are well-known symbols from the Mediterranean area, which serve to protect the burial sites. The column originally stood 2.80 meters high. It is one of few large stone sculptures north of the Alps from this period and one of the most important cultural monuments of the prehistoric Rhineland.
	Jupiter Pillar c.200-225 From Villa Hammerschmidt in Bonn Jupiter pillars are a special form of column monuments to Jupiter. Surviving from this example is the formed base and upper section of a square pillar with fluting a capital carved with leaves. At the top is Jupiter with beard, long curly hair, but sadly no longer a face. He sits on a throne draped with cloths. In his right hand he probably held a lightning bundle and in his raised left hand a sceptre. A niche in the pillar is occupied by the goddess Juno in long robes and a mantle pulled over her head, holding an offering bowl and sceptre. Trees occupy the side niches.
	Family Tombstone from Nickenich c. 60/70 AD Found in: Nickenich, Kreis Mayen-Koblenz This tomb probably once stood before a round grave monument, which carried the Celtic-Roman names of two of the four deceased: Contuinda - the mother - and Silvanus Ategnissa - their son. The deceased were romanized Celts. Mother and son occupy the central niche. The necklace, finger rings and bracelets of the woman witness to the wealth of the family. The scroll refers to education of boys. The deceased on the left wears a material-rich toga, the garb of a Roman citizen; on the right is a coat. The left narrow side shows a man with two prisoners - perhaps the family owes its wealth to the slave trade.
	Sun God and Zodiac Mosaic Middle of 3rd century AD From a Roman villa, Münster-Sarmsheim This magnificent floor mosaic shows the sun god (Sol Invictus, the "Unconquered Sun") driving his chariot from east to west across the Firmament. Around him is a ring of zodiac signs, representing the cycle of the year. The containers and fish in the corners represent the water and the earth; together with the sky they embody the entire cosmos. Around 270 AD, Emperor Aurelian raised the sun god (Sol Invictus, "Unconquered Sun") to the highest state divinity. This mosaic dates from around the same time and was found in the center of the reception hall floor in a Roman villa in Münster-Sarmsheim. Of 278 mosaiced areas in the villa, this is the only one to use color and include figures.
	Gravestone of Meteriola 5th century AD This monument shows that in the 5th century AD not all Romans were Christians: Meteriola was baptized only eight years before her death. The stone was originally a threshold of a building and became the cover plate for the grave of Meteriola. HIC IACET METERIOLA MIHI DVL CISSIMA CONIVX QVI MECVM LABORABIT MVLTIS ET PL(u)RIBVS A NNIS QVE MIhI FVIT ANNVS XXIII CONIVX ET ANNVS VIII ET MESES Septe ET DIES XVIII SOROR IN DOMIN O D(e)O NOS(t)RO h(ie)SV XR(ist)O QVI MIhI TAN TI ABEAT OSTENDERE VIAS SVAS QAS EGO SEQERE POSSEM "Here rests Meteriola, my dear wife, who for many years shared my troubles and work, who was for 23 years my wife and 8 years, 7 months and 18 days sister in the Lord, our God Jesus Christ, who may deign to point me in his ways that I can follow."
	Gravestone of Desideratus 5th century AD Found 1882/83 in an early medieval graveyard in Kobern-Gondorf The birds and the Christogram symbolize the Christian message of salvation. This shows that the Romans living here were Christians. The Latin name Desideratus ("the desired one") reveals the deep love of his parents. While the text stands in the Greco-Roman tradition, the the conception of the afterlife is fully Christian: Hope for Paradise brings comfort. DVRA QVIDEM FRANGIT PARVORVM MORTE PARENTES CONDICIO RAPIDO PR <V> AECIPITATA GRADV SPES AETERNA TAMEM TREBVET SOLACIA LVCTVS AETATES TENERAS QV(O)D PARADISVS ABET N[VM SEX SVPER ADIECTIS AD NONVM MENSEBVS A[N CONDITVS HOC TVMOLO DESSIDERATE IACES "With the bitter death of little ones, the quick pace of fate hurts parents indeed. However, eternal hope gives comfort in mourning; Paradise promises eternal youth to us. Only six months added themselves to the nine years. Safe in the grave, Desideratus, you lie here."
	Gravestone of Ursicinus 5th or 6th century AD Found 1929 beneath Bonn Münster The inscription simply reads TETVLO URSICIN[I, "grave of Ursicinus." The central motif is the Christogram or Chi-Rho, formed from the first two letters of "Christ" in the Greek alphabet, along with the Alpha and Omega (first and last letters of the Greek alphabet, representing Christ as the beginning and the end). The gravestone was found in 1929 during the excavations of the earliest church beneath the Bonn Münster. It originally formed part of a tympanum and was used secondarily as a gravestone. Found directly beneath it was a burial from the 8th century, so it is likely that an older stone was used to mark the grave.
	Gravestone of Mauricius Marble, 5th or 6th century AD Found in 1885 in Gondorf HOC TETOLO FECET MONTANA CONIVX SVA MAVRICIO QVI VI SIT CON ELO ANNVS DODECE ET PORTAVIT ANNUS QARRANTA TRASIT DIE VIII KL IVNAS "This grave was erected by Montana, his wife, to Mauricius, who lived with her 12 years and was 40 years old. He died on the 8th day before the Kalends of June (= May 25)." Under the inscription is carved a Christogram (Chi Rho) with Alpha and Omega in a circle, framed by birds.
	Gravestone of Rignedrudis 6th century AD This stone originally belonged to an antique building and was reused In the Early Middle Ages as a gravestone. It is beautifully carved, with a stamp evidently used for the small circles used for decoration and the eyes of the birds. The Christogram (Chi Rho), Alpha and Omega (which hang by carved chains from the Christogram), palm branches and pecking birds are Christian symbols. The name Rigndedrudis indicates that the deceased was a Germanic woman. IN HVNC TOMOLO REQ(ui)- ESCIT IN PACE BONE ME < ME > MO RIE NOMENE RIGNEDRVDIS CARA PARENTEBVS ET NI MIVM RELICTA AMORE. QVI VIXIT IN HVNC SAECOLO ANNOS XIIIIII ET MIGRAVIT DE DVC MVN- DO XV K(a)L(enda)S MADIAS "In this grave rests in peace (the girl) Rignedrudis of good memory, dear to her parents and too much missed in their love. She lived 16 years in this world and went from this earth the 15th day before the Kalends of May (= April 17)."
	Floor Cross - Grave Marker 6th century AD During archaeological excavations of Bonn Münster, remainders of the church's predecessors were found. The earliest building was rectangular (14 m long and 9 m wide) and made of stone. It was built in the 6th century within an older Roman cemetery on the site of a Roman memorial to the dead. In the mortar floor of this oldest church was a cross made of pieces of marble, which marked a grave. So it is evident the earliest building was a Christian funerary church. Probably people consciously visited the ancient places again in the Early Middle Ages. Did they want to take up a Christian tradition, which was perhaps already connected with Cassius and Florentius? By the end of the 7th century there are written reports that the church was holy to these saints.
	Moselkern Stele 7th century Basalt From Moselkern, Kreis Cochem-Zell The Moselkern Stele is one of the most puzzling objects in the Rheinischen Landesmuseum's collection. It was found in 1915 in a cemetery near Moselkern (Kreis Cochem-Zell). The stone is believed to have been made in a Rhenish workshop in the 7th century AD. That it is a Christian monument is certain. In the upper section a Crucifix is carved out; above it appears a large human face and arms, which wrap around the cross and seem to hold the hands of the crucified Christ. Does the larger figure represent Christ himself, who triumphs over the cross? Or God the Father, who holds the cross with the Crucifixion in the "Throne of Mercy" motif? But such imagery is seen only in the High Middle Ages, many centuries after this stone was made. Puzzling, indeed.
	Gondorf Plate 8th century Found 1878-90 in Gondorf, Gem. Kobern-Gondorf, Kreis Mayen-Koblenz The 8th-century Gondorfer Platte, which was once part of a stone choir screen. It was found in 1890 in an early medieval cemetery in Gondorf, north of Trier. In a central medallion is a bearded man with birds on his shoulders; griffins occupy the corners. Birds and griffins are Christian symbols, representing paradise and the hope for release. The man holds a book in his hand, indicating he is a saint or apostle.
	Enamel Medallion with Bust of Christ Byzantine, end of 10th century On loan from Bonn Münster This medallion was found in 1947 in the grave of Siegfried von Westerburg, Archbishop of Cologne (d.1297), in Bonn Münster. It was in secondary use as a decoration on a pontifical glove.
	Hanseschale (Annus Bowl) 12th century Found in a Rhine riverbed near Rees, Niederrhein Engraved copper In the middle is the enthroned and crowned ANNUS, personification of the year. As the ruler over time he represents God, creator of the orderly cosmos. He holds a sun disk (SOL) in his right hand, a crescent moon (LUNA) in his left. Surrounding the Year are representatives of the four seasons: VER (Spring) scatters seeds; AESTAS (Summer) is a woman in the midst of many plants; AUTUMNU(S) holds a vine knife; and HIEMPS (Winter) warms himself by a fire. Some representations are similar on other Annus bowls, such as the onel from Heimbach, but this Annus bowl is so far unique.
	Zodiac Reliefs from Brauweiler Made in Cologne, before 1141 From north tower of Brauweiler Abbey Church On loan from the Museum Schnütgen in Cologne These beautifully carved zodiac reliefs once decorated the north tower of the abbey church in Brauweiler, west of Cologne. They were added sometime before 1141 as part of the rich sculptural decoration of the church. This collection is especially precious because at the time there was little sculpture decoration in German churches and the subject of the zodiac is unique. Seven of the original twelve panels have survived: Aquarius (January), Pisces (February), Aries (March), Taurus (April), Gemini (May), Cancer (June) and Virgo (August). The zodiac represents the progression of the year on earth and the movement of the stars in the heavens; in medieval art it was often accompanied by scenes of the "Labors of the Months." See our Zodiac and Labors of the Months feature for more information and examples.
	Gustorf Choir Screen c.1150 Limestone Acquired in 1939 from Gustorf parish This relief sequence is a great work of Cologne Romanesque sculpture. The panels served as a choir screen in the basilica of Knechtsteden Abbey, northwest of Cologne. They have lost most of their paint and are seriously damaged, but their high artistic quality remains unmistakable. The panels depict the Three Magi; the Virgin and Child; the proclamation to the shepherds; the enthroned Christ with personifications of the sun and moon above; saints holding books; the three holy women who came to Christ's tomb; and an angel at the empty tomb of Christ. See the photo gallery for more closeup looks at each panel.
	Pillar Block with Two-Sided Double Capitals c.1170/80 Cologne, possibly St. Gereon Church The carvings depiect mythical creatures entangled in leaves and vines.
	Grave Mosaic of Abbot Gilbert 2nd half of 12th century From the crypt of Maria Laach Abbey church Gilbert, the first abbot of Maria Laach Abbey, died in 1152. Since the church was not yet finished, he was buried in the crypt. Only the upper half survives, which has a living portrait of the abbot in the robes and signs of his office (staff with crozier). The figure is partially covered by an inscription full of praise, which translates as follows: "Outstanding by his birth, more outstanding still by his services, here lies Abbot Gilbert, a standard of virtue for all who hold the office of abbots or monks. He died on August 6, when the sun was in the sign of Leo. He rests in blessed peace." The gravestone of Abbot Gilbert is one of the oldest with a representation of the deceased and is the only one with a mosaic in Germany.
	Three Pages from a Manuscript of the Speculum Virginum Trier or Middle Rhein Region, c.1200 Ms. 132 in the Episcopal Archive, Trier The Speculum Virginum (Mirror for Virgins) was written around 1140 by an anonymous author. It was a kind of text book for the instruction of "Christian virgins," i.e. nuns. The text was in dialogue form and included instructive illustrations, which follow the same pattern as early manuscripts. Only the miniature to Book 7 deviates from this pattern. The Tree of Jesse shows the Virgin Mary and Christ within vines, surrounded by foliage inscribed with the names of ancestors and prophets. On the second page, the Foolish Virgins are shown sleeping and the Wise Virgins standing alert with their jars of oil. Christ, two saints and two angels preside over the scenes at the top. The ranking of the Three Conditions of Woman is illustrated with harvest scenes: The virgins, who sanctify themselves to Christ, harvest hundredfold, the widows sixtyfold, the married women thirtyfold.
	Tabernacle Plate with Crucifixion Group Limoges, early 13th century Gift of Kaiser Wilhelm I
	Crook of a Bishop's Crozier with St. Michael as Dragon-Slayer Supposedly: Limoges, 13th century Actually: 19th-century counterfeit A 19th-century counterfeit of a crozier from early 13th-century Limoges. Crozier crooks like this were manufactured in a series in Limoges workshops of the 13th century for export to many countries of Europe. This example was acquired by the museum in 1935 as an original from the 13th century, but 1968 radiographs exposed it as a 19th-century counterfeit. Among other evidences are the modern screws on the inside, with which parts were bolted before the enamel inserts were melted.
	Head of a Prophet; Head of a Knight with Hood Cologne, c.1300 During renovations in the choir of Cologne Cathedral in the Baroque period, numerous medieval figures like this one were removed and smashed.
	St. Dorothy From the Parler workshop 1375-81 This figure of St. Dorothy comes from the sculptural decoration in the so-called Peter Portal on the west side of the south tower of Cologne Cathedral. This portal is the most important monument of Parler art in Cologne. The Parlers were important master builders and sculptors of the 14th century, who led large building projects among other places in Strasbourg, Basel, Vienna and Prague. Dorothy was one of the most popular saints in medieval art. As one of the "14 helpers in time of need," she assisted with poverty as well as birth and death needs. She was shown with a rosary; a further attribute is a cup filled with flowers and apples.
	Jewish Gravestone Cologne, 14th century(?) This gravestone was discovered in 1953 during excavations in the precinct of Cologne's city hall. It probably comes from the Jewish cemetery in front of the Severinstor and was later used as building material.
	Adoration of the Magi by the Cologne Master c.1450 This beautiful painting was originally part of an altarpiece.
	St. Ottilie Middle Rhein Region, c.1470/80 Because of her blindness Ottilie defied her father, went secretly to a monastery and was healed by baptism. She was abbess of Hohenburg Monastery on the Odilienberg in Alsace. Here she is represented with the pair of eyes in her veiled hand, referring to their miraculous healing and her role as helper with eye diseases.
	Last Judgment Triptych Jan Mostaert c.1514 This painting shows the van Noordwijk family with the Last Judgment in the background. The miniature details of the blessed and the damned reward closer inspection - happily the tripytch is displayed at eye-level, making this possible. The arrangement of the picture shows a clear hierarchy: Christ enthroned on the rainbow as Judge of the world, surrounded by martyrs and displaying his wounds. Below are the resurrected: on the left the blessed and on the right the condemned. This triptych is not an altarpiece, but above all a family portrait: the founder family dominates the foreground. With the world judgment as a background, it served as a reminder to the living.
	St. James the Greater Attributed to Hans Rupprecht Hoffman the Younger 1631 From the church in Bremm/Mosel St James is equipped with the hat, coat and bag of a pilgrim. Scallop shells appear on his hat brim and collars to symbolize the pilgrimage to Santiago de Compostela (home of the saint's tomb). The role of St. James as protector of pilgrims explains the spread coat, under which pilgrims find shelter. This statue comes from a large altar with other saints, such as St. Sebastian.
	Torah Crown Germany(?), 1833 The crown decorates the top of the Torah scroll. When the scroll is taken out of the Torah shrine, the little bell solemnly rings out. Torah Shield Nürnberg(?), early 19th century The Torah shield serves as a decoration of the Torah scroll. On the lower part are engraved tablets listing the holidays of the Jewish year. Depicted on the Torah shield are the Torah crown, the tablets of the Law (here without writing) and the columns of the Temple of Solomon. Torah Pointer Germany(?), 18th century The pointer hangs on a chain to the left of the shield. Since the Torah scroll may not be touched with the hand, the Torah pointer helps the reader keep his/her place.

Quick Facts

Names:	Rheinisches Landesmuseum Bonn
Type of site:	Museum
Faith:	n/a
Dates:	Founded 1820
Architecture:	Modern
Location:	Just south of the Hauptbahnhof, across the tracks from Bonn Münster
Address:	Colmantstr. 14-16, 53115 Bonn, Germany
Phone:	+49 (0) 228 / 2070-0
Fax:	+49 (0) 228 / 2070-299
Website:	www.rlmb.lvr.de
E-mail:	rlmb@lvr.de
Hours:	Tue, Thu, Fri, Sat, Sun: 10am-6pm Wed: 10.00 - 21.00 Uhr Closed Mondays
Cost:	€5
Facilities:	Toilets; cloakroom; lockers; cafe; gift shop
Photography:	Permitted, but no flash or tripod (neither very necessary as the exhibits are well-lit).

Location Map

Below is a location map and aerial view of the Rheinisches Landesmuseum in Bonn. Using the buttons on the left, zoom in for a closer look or zoom out to get your bearings. Click and drag the map to move around. For a larger view, see our Bonn Map or get our free Google Earth download.

Sources

Personal visit (January 24, 2008).
Photo captions are based on my translation of the German labels in the museum.
Official museum website.