• A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. A project of the FKHM Nürnberg e.V.
  • About us
  • Feedback
  • Deutsche Version
Search Virtual museum
Nuremberg Art
  • Artists
  • Works of art
  • Topics
  • New
  • About us
  • Feedback

Altar of St. Bernard

Altar of St. Bernard The altar construction in frog perspective

Altar of St. Bernard

1623 to 1626

The altar construction in frog perspective



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Theo Noll

Altar of St. Bernard Main structure frontal

Altar of St. Bernard

1623 to 1626

Main structure frontal



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard comparison with "exposed" altar

Altar of St. Bernard

1623 to 1626

comparison with "exposed" altar



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra, Theo Noll

Altar of St. Bernard "exposed" altar

Altar of St. Bernard

1623 to 1626

"exposed" altar



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2022, Pablo de la Riestra, Theo Noll

Altar of St. Bernard Volute of the attic with putto

Altar of St. Bernard

1623 to 1626

Volute of the attic with putto



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Upper storey and attic

Altar of St. Bernard

1623 to 1626

Upper storey and attic



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Attic with Christ on the cross and assistant figures

Altar of St. Bernard

1623 to 1626

Attic with Christ on the cross and assistant figures



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Bernard kneels before Mary with the infant Jesus, an angel accompanies the scene

Altar of St. Bernard

1623 to 1626

Bernard kneels before Mary with the infant Jesus, an angel accompanies the scene



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Bernard kneels before Mary with the infant Jesus, an angel accompanies the scene

Altar of St. Bernard

1623 to 1626

Bernard kneels before Mary with the infant Jesus, an angel accompanies the scene



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Niche with post-Gothic ribbed vault and keystone

Altar of St. Bernard

1623 to 1626

Niche with post-Gothic ribbed vault and keystone



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Theo Noll

Altar of St. Bernard Main storey: three visions of St. Bernard

Altar of St. Bernard

1623 to 1626

Main storey: three visions of St. Bernard



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Main storey. Vision, heavenly apparition with the crucified and the mother of God with child, Bernard kneels with the instruments of torture

Altar of St. Bernard

1623 to 1626

Main storey. Vision, heavenly apparition with the crucified and the mother of God with child, Bernard kneels with the instruments of torture



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Main storey: vision, Bernhard, still dressed as a layman, watches the birth of Christ

Altar of St. Bernard

1623 to 1626

Main storey: vision, Bernhard, still dressed as a layman, watches the birth of Christ



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Main storery, Vision, heavenly apparition with the birth scene. Note the post-Gothic rib piercings_.

Altar of St. Bernard

1623 to 1626

Main storery, Vision, heavenly apparition with the birth scene. Note the post-Gothic rib piercings_.



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Theo Noll

Altar of St. Bernard Main storey: vision, Bernhard, still dressed as a layman, watches the birth of Christ

Altar of St. Bernard

1623 to 1626

Main storey: vision, Bernhard, still dressed as a layman, watches the birth of Christ



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Main storey, right hand scene, the crucified frees himself from the nails in order to embrace Bernhard

Altar of St. Bernard

1623 to 1626

Main storey, right hand scene, the crucified frees himself from the nails in order to embrace Bernhard



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Altar of St. Bernard Main storey, right hand scene, the crucified frees himself from the nails in order to embrace Bernhard

Altar of St. Bernard

1623 to 1626

Main storey, right hand scene, the crucified frees himself from the nails in order to embrace Bernhard



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Theo Noll

Altar of St. Bernard Main storey right hand scene: detail with the gesture of the embrace of Christ

Altar of St. Bernard

1623 to 1626

Main storey right hand scene: detail with the gesture of the embrace of Christ



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Theo Noll

Altar of St. Bernard predella with John the Baptist

Altar of St. Bernard

1623 to 1626

predella with John the Baptist



Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.


The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).


Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.


Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Location: Ebrach, Catholic parish church, former Cistercian abbey church, front wall of the northern transept arm

Design: Dümpel, Veit

Realization: Dümpel, Veit

photo 2021, Pablo de la Riestra

Veit
Dümpel

Further works

High Altar
High Altar
Altar of St. Bernard
Altar of St. Bernard
Johann Kasimir
Johann Kasimir

Menu

  • New
  • Search
  • Artists
  • Works of art
  • About us
  • Deutsche Version
  • Instagram

A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. (Association for the Promotion of the Museum of Cultural History Nuremberg - registered association)

The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website.

Support us Feedback

Logo

© Protected under German copyright laws

  • Imprint
  • Privacy policy

Feedback

Please let us know your opinion about our website, the museum, our idea or any other evaluation. We shall be please about any comments and suggestions..