more...
- Eagle lectern, 1854
- St Agilulfus altar-piece, c.1520
- Altar-piece of the city’s patron saints, c.1440/45, open view
- Adoration of the Three Magi, circa 1300
- Adoration of the Magi, shortly after 1521
- St. Anne Group with Donor Victor von Carben
- Choir pier statues: St Andrew the Apostle
- Choir pier statues: St Bartholomew the Apostle
- Choir pier statues: St James (the Less) the Apostle
- Choir pier statues: St James (the Great) the Apostle
- Choir pier statues: St John the Apostle
- Choir pier statues: St Jude the Apostle
- Choir pier statues: St Matthew the Apostle
- Choir pier statues: St Paul Apostle
- Choir pier statues: St Peter the Apostle
- Choir pier statues: St Philip the Apostle
- Choir pier statues: St Simon the Apostle
- Choir pier statues: St Thomas the Apostle
- Augusta Plaque, 1895
- Baroque Altar, 1767-70
- Baroque floor-standing candlesticks, c.1780
- Bust of Archbishop von Droste-Vischering
- C. Murdfield, Archbishop Hubertus Theofilus Simar
- Cherubim
- Choir stalls, south-east view
- Choir Stalls from Southwest
- Choir pier statues, Christ
- Pillar Statues in the Choir, Mary
- Chr. Heyden, Antonius Cardinal Fischer, 1905
- Detail of the back wall of the choir stalls facing the ambulatory
- Wrought-iron gate in the choir
- Magi Altar, c.1668–83
- Magi choir stall screen, c.1332–49
- Shrine of the Magi
- Elmar Hillebrand, lectern, 1971
- Elmar Hillebrand, Pope John Paul II commemorative plaque, 1985
- Elmar Hillebrand, Sacrament House, 1964
- Elmar Hillebrand, candelabrum
- Elmar Hillebrand, altar in the crossing, 1960
- Epitaph of Emundus
- Angel and Guardian Angel
- Monument to Konrad Kuyn, cathedral master builder, d.1469
- Epitaph of the Geyr Family, 1760
- Epitaph of Ferdinand von Francken-Siersdorf
- Archangels Gabriel and Michael
- Archangel Raphael and an Angel
- F. Baudri, Johannes Cardinal von Geißel, 1851
- F.P.M. Guillery, Paulus Cardinal Melchers, 1889
- St Felix and St Nabor choir stall screen, c.1332–49
- Friedrich Overbeck, the Assumption of the Blessed Virgin Mary, 1855
- Georg Grasegger, carving of St Michael, 1920
- St George altar-piece, c.1520
- Gero crucifix, c.970
- Guido Gregonti, Joseph Cardinal Höffner, 1977
- Heribert Neuss, marble statue of the Virgin Mary, 1665
- Heribert Neuss, Marble Statue of St. Peter, 1665
- Heribert Neuss, reclining figure of St Engelbert, 1665
- St Anthony of Padua, late nineteenth century
- St. Barbara
- St. Joachim
- St. Joseph
- St. Catherine
- Saint Peter and Saint Irmgardis, c. 1330/40
- St Ursula, early sixteenth century
- High altar, pre-1322
- Rod’s above the entrance to the Treasury
- Jewish privilege, 1266
- Pulpit, 1544
- Candle beam of the Cologne Guild of Pewterers
- Candle beam of the Cologne Guild of Pewterers
- Candle beam of the Cologne Guild of Pewterers
- Candle beam of the Cologne Guild of Tailors
- Altar-piece of the Poor Clares, closed view
- Clapper of the Emperor's Bell, 1876
- Crucifixion of Christ, c. 1330/40
- Crucifixion of Christ, c 1330/40
- Crucifixion, late fifteenth century
- Bartholomäus Bruyn the Elder, Crucifixion altar-piece, 1548
- Crucifixion Altar, c.1500, open view
- Crucifixion Altar, c.1500, closed view
- Crucifixion group, sixteenth century
- Legend of the Cross of St. Irmgardis, c. 1330/40
- Way of the Cross, tenth station, Christ is stripped of his garments
- Way of the Cross, thirteenth station, Christ's body is taken down from the cross
- Way of the Cross, fourteenth station, Christ is laid in the tomb
- Way of the Cross, third station, Christ falls for the first time
- Nave Organ, 1998
- Nave Clock, 1876
- Magirus extendable ladder, 1929
- Milan Madonna, c. 1280/90
- Organ of St Mary, c.1700
- Virgin Mary choir stall screen, c.1332–49
- Mosler-Pallenberg, Phillip Cardinal Krementz, 1889
- Mother of God with Child, c. 1420
- Neo-Gothic furnishings of the axial chapel, 1892
- North Transept Organ with Gallery, 1948 and 1956
- Peter Hecker, Felix Cardinal von Hartmann, 1921
- Peter Hecker, Karl Joseph Cardinal Schulte, 1943
- Peter Hecker, Joseph Cardinal Frings
- Peter Screen, c. 1332-1349
- Principates and Potestates
- Plan F, late thirteenth century
- von Einenberg knight, late fifteenth century
- Konrad Kuyn, sacrament house, c.1460
- Jewellery Madonna without robe
- Jeweled Madonna before 1991
- Display cabinet with processional banner
- Seraph
- St Sylvester and Constantine choir stall screen, c.1332–49
- Thrones
- Tilman van der Burch, St. Christopher, c. 1470
- Toni May, Joachim Cardinal Meisner, 1991
- Annunciation, 1712
- Annunciation Group with Donor Victor von Carben
- Pietà, Westphalia, c.1490
- Virtutes and Dominationes
- Mural above the altar, c. 1330/40
- Wilhelm Mengelberg, aumbry door, c.1890
- Willy Weyres, bishop’s throne, 1952
Friedrich Overbeck, the Assumption of the Blessed Virgin Mary, 1855
This oil painting of the Assumption of the Blessed Virgin Mary, which is more than four metres high, was commissioned by the Düsseldorf Art Society and completed by the Late Nazarene painter Friedrich Overbeck in 1855 during the Catholic Revival Movement of the nineteenth century. It originally hung in the Lady Chapel, where it decorated the neo-Gothic altar designed by Friedrich Zwirner. This altar was demolished in 1949 and replaced by Stefan Lochner’s altar-piece of the city’s patron saints. Overbeck combined the theme of the Assumption with elements generally found in paintings of the Immaculata Conceptio (Immaculate Conception). Above Mary’s empty grave, around which the Apostles are gathered, the Madonna hovers in a mandorla framed by eight angels. The inclusion of the forefathers, prophets, kings, and women of the Old Testament in the middle section of the painting is not typical of paintings of the Assumption. They are in fact more typical of Baroque Immaculata paintings because the words and deeds of these Old Testament characters were interpreted as heralding the Immaculate Conception.