City Museum Fembohaus

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The south front of the Fembohaus

The City Museum Fembohaus is the city museum on the history of Nuremberg . 950 years of city history are clearly presented. In a new museum atmosphere, it presents a comprehensive view of the city's history with ambitious exhibitions on current topics in the city's history. The museum is part of the network of museums in the city of Nuremberg .

The Fembohaus is Nuremberg's only remaining large merchant house from the late Renaissance .


The Fembohaus in Sebald's old town, Burgstrasse 15, was built in the years 1591–1596, probably according to plans by Jakob Wolff the Elder , on behalf of the Dutch merchant Philipp van Oyrl. Oyrl, who was granted citizenship in 1592, bought the property in 1590 and had the existing building demolished. The new house became the family seat for Philipp van Oyrl and his descendants and the seat of the trading company he founded.

The patrician Christof Jakob Behaim, son of the Vordersten Losungers , married Maria Sabina Pellerin in 1668 and, as a dignitary of the Baroque period, had the house that his wife brought into the marriage rebuilt in a splendid manner. She was the great-granddaughter of the builder of the house, Philipp van Oyrl. Behaim had the large Baroque ceiling on the second floor created by the Italian stucco artist Carlo Moretti Brentano and in the dance hall on the third floor ceiling paintings based on motifs from Ovid's Metamorphoses by an unknown master.

Johann Michael Franz (1700–1761) and Johann Georg Ebersberger (1695–1760) inherited the map printing company from Johann Christoph Homann (1703–1730) in 1730 with the publishing house of the cartographer Johann Baptist Homann (1664–1724), at that time the most important map printing company in Germany. In 1735 they acquired the prestigious house at Burgstrasse 15 and continued to operate the company there under the name of "Homännische Erben". Their heirs Jakob Heinrich and Georg Christoph Franz followed, then Georg Peter Monath and Friederike Albrecht.

In 1804/13 the later namesake Georg Christoph Franz Fembo (1781–1848) acquired both shares in the Fembohaus and in the publishing house, after he had already taken over Christoph Weigel's formerly important art and bookshop in 1805. His son Christoph Melchior Fembo had the Homannische Landkarten-Verlag bookshop shut down in 1852. After his death in 1876, the building was sold and the collections and the remaining holdings were auctioned off to the public.

In 1876 the building was bought by David Zwick, a tobacco manufacturer in Nuremberg.

In 1928 the city of Nuremberg bought the house and partly used it as an office building. The front building survived the Second World War with minor war damage. The damage to the intermediate building was moderate. The rear building had to be removed.

In 1953 the Fembohaus was opened as a city museum, and in 1958 the rebuilt rear building could be handed over to its intended purpose. Between 1996 and 2000, the Fembohaus City Museum was completely renovated and redesigned.

The community center with front building, wing and rear buildings around the inner courtyard is the only representative Nuremberg building complex that survived the Second World War largely undamaged.


Wilhelm Schwemmer , head of the municipal art collections from 1952, redesigned the Fembohaus into a museum of old Nuremberg culture. The City History Museum, founded in the Fembohaus in 1953, was incorporated into the Nuremberg City Museums in 1994. It was renovated and redesigned between 1997 and 2000. In 2016, a new permanent exhibition unit was opened in the previous cinema hall in the historic courtyard.

ground floor

  • Entrance hall
  • cashbox
  • Exhibition forum
  • Historic courtyard
  • Crown - power - history. Nuremberg at a glance

4th floor

  • Sounding city model
The chronological tour starts on the large city model of Nuremberg with a light, sound and image show.

3rd floor

Numerous exhibits prove Nuremberg's outstanding position as an imperial city in the Holy Roman Empire.
  • Nuremberg crafts
Eleven inventions and crafts illustrate the Nuremberg joke, the ingenuity of Nuremberg craftsmen.
  • Nuremberg Council
History, rule and self-image of the Nuremberg patriciate shaped the fortunes of the city.
  • Nuremberg trade
The documentation is dedicated to Nuremberg at the intersection of European trade routes, the merchants and their businesses.
  • City models
Two models of the imperial city of Nuremberg show the medieval city in the 16th and early 17th centuries.
  • Dance hall
Three house residents from three centuries return and tell their story and the story of the house. (Audio image dance of generations through time )
  • Nuremberg cuisine
In the 18th century, the kitchen was transformed into a representation room in which crockery made of copper and pewter was displayed.

2nd Floor

  • Family room
The paneled, splendidly furnished hall was built shortly after the building was built around 1600 and shows the high culture of living in Nuremberg.
  • Vestibule with baroque ceiling
The magnificent ceiling was completed by Carlo Moretti Brentano in 1674 and is the most impressive baroque stucco ceiling still in existence in Nuremberg.
  • The religious talk of 1525
The so-called religious talk took place in six sessions in the large hall of the town hall; the representatives of the new doctrine prevailed, Nuremberg became Lutheran. (Audio image)
  • Cityscape of Nuremberg in the 17th century
The great medieval unity of Nuremberg is illustrated in copper engravings, etchings and paintings by various artists.
  • Martin Peller and his house
The richest merchant of his time had the most magnificent and largest house in Nuremberg built on the Egidienberg between 1602 and 1607.
  • The beautiful room
The hall for Martin Peller's art collection was used for representative purposes; it was saved in World War II and installed here.
  • The Peace Supper of 1649
A European diplomatic congress discussed the contentious points of the Peace of Westphalia. Joachim von Sandrart captured the feast in a monumental historical painting.

1st floor

  • Artists and scholars
A gallery of important personalities from the intellectual life illustrates the artistry and erudition of Nuremberg in the 18th century.
  • Nuremberg music
Music examples from three centuries give an impression of Nuremberg's rich musical life. (Listening station)
  • Imperial city becomes Bavarian provincial city
The Nuremberg faience factory and the forced sale of the Neptune Fountain stand for splendor and decline. In the painting of Johann Adam Klein, the city experienced an artistic boom.
  • Homan map office
Millions of maps were engraved and printed in the Fembohaus; Germany's most important map publisher at times had its headquarters here.
  • The cityscape in the 19th century
Ferdinand Schmidt's photographs document the conversion of Nuremberg from a medieval city to an industrial metropolis.
  • The image of the old town in the 20th century
The old town perished in the hail of bombs of World War II; the reconstruction of Nuremberg based on the old cityscape is a synthesis of old and new.
  • Movie room
Seven documentaries are dedicated to the history of Nuremberg in the 20th century. (Free choice of film program)

Special exhibits

Peace Supper

Joachim von Sandrart , 1650 Oil on canvas

The representative of the Swedish crown and later King of Sweden, Karl Gustav von Pfalz-Zweibrücken-Kleeburg, invited guests to a large banquet in the town hall to celebrate the first agreement between the former opponents of the war on disputed questions of peace conditions. The painter Joachim von Sandrart commissioned by him chose the meal as a symbolic gesture of reconciliation. In his monumental painting he captured the moment of the splendid meal in which the fifth course made of garden fruits is being served in silver bowls and on branches. The painter provided the most important people with numbers and listed them on the side panels.

The beautiful room from the Pellerhaus

The beautiful room was built around 1610 and served representative purposes. Private art collections or distinguished guests were often housed in such splendid rooms. The ceiling created by Georg Gärtner consists of 21 cassettes with mythological and allegorical representations. Four male and four female deities as well as the four elements and four continents are grouped around the central image, which shows the fall of Phaeton. The beautiful room was brought to safety in the Second World War before the Pellerhaus was destroyed and installed in the newly built rear building of the Fembohaus in 1957/58.

The Apollo Fountain

The Apollo fountain was cast in brass by the Nuremberg foundry Pankraz Labenwolf in 1532, probably based on a design by Peter Flötner. It represents a high point of German Renaissance sculpture. The fountain was created for the courtyard of the Pleidenhaus, a shooting range for crossbowmen. He was standing in the foreground of the men's shooting house on the sand, which was later built on this site. The archery god Apollo was the patron of the Nuremberg archers. The nude figure with its careful study of the body at the moment of movement indicates a precise knowledge of Italian Renaissance sculpture.

The large baroque ceiling on the second floor

The ceiling in the Fembohaus is the most impressive baroque stucco ceiling in Nuremberg that has survived. It was created in 1674 by the Italian stucco maker Carlo Moretti Brentano (around 1630–1684) on behalf of the patrician Christoph Jakob Behaim. The left field symbolizes love: Venus is the goddess of love; Cupid, who is by her side as a constant companion, points his arrow at Venus, who tries in vain to escape. The right field symbolizes friendship: Venus and Cupid are closely linked, also made clear by the two children playing together. The figures in the corners represent the four seasons: spring and summer on the window side, autumn and winter on the side of the stairs.


The representative front building facade faces south. The sandstone choir above the entrance gate dates from 1680. The sloping gable has a rich decoration with volutes, obelisks and flower vases. The windowing of the gable is emphasized by a column position and the parapet reliefs with the allegorical representations of the four elements. The figure of Fortuna is the crowning glory. The front building is connected to the rear building by a three-story central building decorated with wooden galleries. In 1958 the rear building, which was badly damaged in the war and later demolished, was rebuilt. Between 1996 and 2000 the Fembohaus city museum was completely renovated and the tour redesigned. The Fembohaus City Museum reopened in March 2000.

See also


  • Ruth Bach-Damaskinos: Fembohaus . In: Michael Diefenbacher , Rudolf Endres (Hrsg.): Stadtlexikon Nürnberg . 2nd, improved edition. W. Tümmels Verlag, Nuremberg 2000, ISBN 3-921590-69-8 ( online ).
  • Guide to the Fembohaus city museum. museums of the city of nuremberg, nuremberg 2000.
  • Wilhelm Schwemmer: The Fembo House in Nuremberg. Old Town Museum. Ulrich, Nuremberg 1960.
  • Fritz Taugott Schulz: Nuremberg's town houses and their furnishings. Gerlach & Wiedling, Leipzig / Vienna 1909, pp. 206–242.

Web links

Commons : Stadtmuseum Fembohaus (Nuremberg)  - Collection of images, videos and audio files

Coordinates: 49 ° 27 '24 "  N , 11 ° 4' 39"  E