Exhibition on the 2nd Floor

Immediately to the left of the entrance we present you an impressive exhibit: the wooden Good Friday riddle from the parish church of Sarnen. On Good Friday and Holy Saturday the church bells are silent to commemorate the death of Christ. Instead, you hear the characteristic rattling of these rattles several times a day.

And to the right of the entrance you will discover a delicate representation: Our wax Madonna with the Child Jesus. Originally part of a private household, this Madonna has a special story to tell.

In the entrance area you will find votive offerings, a sign of gratitude for answered prayers. In difficult times, people invoke saints for protection and help and often promise to make a pilgrimage as a thank you. This grace is illustrated by votive pictures at the place of pilgrimage. These pictures show the experience, such as healed limbs.

Votive offerings can take the form of candles, money, jewelry, livestock and other valuable objects, often of high personal value. An impressive example hangs above the Good Friday Riddles: In 1650, a fire broke out in the Hotel Kreuz in Sachseln. Brave helpers rushed to the rescue, and one of them fell from the roof. Thanks to the intercession of Brother Klaus and Francis of Assisi (top left), he survived unscathed. The hotel was also largely spared.

Other examples show a lumberjack accident (left wall, lower left) and a dog bite (right wall, lower right). In times without social security, an accidental injury often meant poverty for the whole family. In the absence of skilled doctors and effective medicine, a dog bite could be fatal. The high infant mortality rate is evident on votive pictures, where the deceased children are marked with crosses (right wall). These children still belonged to the family and were depicted, at the same time as a plea for their soul salvation.

Various saints are asked for help in the numerous chapels in Obwalden, and the images of grace on the votive offerings often give indications of their origin. As a pilgrimage memento or for private devotion, believers had these images of grace copied. In the middle of the right wall hangs Maria Hilf von Passau, painted by the Obwalden artist Felix Anton Wirz

In the showcase at the entrance to the nursery there are old children’s toys in it. The building blocks of the Anker company were very popular. The fragile porcelain doll, on the other hand, was intended more for viewing. Both were reserved for the upper class. Children from simpler circumstances had to make do with toys they had carved themselves.

The rest of the room is filled with little activities, like the marble game on the ground. There is also a little excavation site as well as a stamping maschine. There is also an old school desk in there with a liftable top.

Every saint has his own special auxiliary area. On the left wall you can see in the middle two particularly popular saints who are invoked in different emergency situations: Blasius and Wendelin.

Blasius is the patron saint of neck patients, doctors, bakers and other professions. On his memorial day, the Blasius Blessing is given, which is also considered to be a protection against sore throats. He is also revered as a weather saint and invoked in case of storm damage.

Wendelin, on the other hand, is the patron saint of shepherds, peasants, day labourers and agricultural workers. In a region whose population is mainly farmers, the Community felt particularly close to him.

To the right of the entrance you will find a section of a choir stool with a folding seat and armrests. This probably comes from a former monastery church. The carved wooden parts to the left of the entrance and between the windows are most likely side parts of church benches

Above the choir stalls is the death of Johann Melchior von Atzigen (1622–1683), who was active in his time as a councillor, landsacklmeister and Landammann.

On the opposite side of the door hangs the portrait of Wolfgang Schmid (1600–1663). Schmid was not only the pastor of Sarnen, but also Sextar of Obwalden. His work spanned various areas, including the promotion of the school system, support for the founding of the Capuchin monastery and his role as procurator in the beatification process for Brother Klaus. His critical stance on the witch trials is particularly noteworthy.

The so-called post-mortem images created after death can be seen as memento mori, a reference to the ever-present threat of death. The plague raged until the 17th century and due to the constant danger to life, both dances of death and these images of the dead were created.

Next to the obituary of Atzigen there is a depiction of Anna Selbdritt. This type of picture was created around the 13th century and shows Anna in the middle holding the baby Jesus in her arms, while Mary is standing next to her as a child. The figure on display here comes from the church of Giswil and was made in 1636.

Anna was the patroness of the guilds, merchants and tradesmen, whom she called on to increase wealth. She was also the patron saint of marriage, mothers, housewives, maids, widows and workers.

The large chest, centered in the room, with elaborate inlays and the initials HIA, dates from the 17th century and once belonged to the pastor Johannes Anderhalden (1628–1704). Note that the chalice depicted on it does not serve as a family coat of arms, but rather symbolizes the spiritual profession of Father Anderhalden.

The painting by Josephus Remigius Budmiger from 1737 on the left wall shows one of the oldest views of Sarnen. Brother Klaus kneels in the foreground, and behind him lies the view of Sarnen and Flüeli-Ranft. In Sarnen you can see the old parish church, which was demolished in 1739, as well as the course of the Melchaa River, which once flowed through the village. Only in 1880 the river was diverted and led into the Sarnersee

To the left of the panel you will find a painting of the Archangel Michael in his role as guardian of the soul. On a scale, the soul of a deceased kneels, on the side of good deeds, while on the other side lie the evils that the devil pulls down. This work is attributed to the artist Franz Othmar Gisig (around 1630–after 1682)

Below the Archangel Michael is a statuette of St. Anthony, also called ‚Siiwli-Toni‘ by the people. This figure was created around 1650 and repainted in the 19th century. Antony is the patron saint of all pets, not just pigs. He is called to seek protection from pestilence, animal diseases, fires and the so-called Antony Fire (maternal grain disease). It also plays an important role in popular belief: Blessed bread and salt, which is used on Antony Day, serves as a protective spell.

Next to Antony you will find the impressive Lenten shroud from 1615, designed by Sebastian Gisig (1573–1649), the father of Franz Othmar Gisig. The cloth depicts the crucified Christ, accompanied by Mary, John and Mary Magdalene. In former times, it was customary to cover the main altar during Lent when it did not show the cross of Christ. For this reason, it was called a fasting or hunger cloth.

This special cloth was no longer used in the church of Kerns and came into the possession of a farmer. By a happy coincidence it was discovered and handed over to the museum in 1887. The technique used, tempera paints on unprimed canvas, is referred to as cloth painting. The seams that cross the picture have a historical reason: on the looms of the time it was not possible to weave such wide pieces of canvas, which is why several pieces were joined and sewn together.

The measuring gown displayed in the display case was once used in the chapel Wisserlen. The cross staff with gold and colourful silk embroidery on linen probably dates from the 16th century, but was only sewn on the woolen fabric in the following century. The same applies to the embroidered crosses on the stole and the handle

Next to the painting of the coronation of Mary stands St. Martin on a pedestal. Originally a Roman soldier, he turned to the hermit life and founded a monastery in Poitiers. His simple life, his willingness to help and his care for the poor left a deep impression on the people. At the urging of the people, he was appointed Bishop of Tours. He died during a missionary trip. The Benedictines promoted his veneration, and Clovis made him the patron saint of the Franconian Empire

Between the two doorways hangs the panel painting „Mary’s Coronation“ from 1621, which comes from the convent of St. Andreas in Sarnen. On the left side of the picture is the founder of the Order, St. Benedict, while on the right is Saint Scholastika, his twin sister. The inscription below the picture mentions the patroness, Abbess Scholastika von Wyl

Just to the right of the display case is a statue of St. Sebastian, which dates back to the early 17th century. This figure once belonged to Kern’s Rifle Society.

Saint Sebastian can be seen by the arrows that pierce his body. Sebastian served as a soldier in the Imperial Guard, publicly professed Christianity and helped persecuted Christians. In response, the Emperor ordered archers to shoot him, but he survived the attacks. Sebastian again visited the emperor, professed Christianity, but was then murdered by the emperor in the circus and thrown into the sewer. The Christians miraculously discovered his body and buried it in the catacombs.

Sebastian is called to protect against the plague, other diseases and for the protection of wells. From the middle of the 14th century, when the plague raged in Europe, its worship spread rapidly. He is also revered as the patron saint of the dying, tanners, soldiers and brotherhood of marksmen

To the left of the door you see a small house altar from Ramersberg. This altar was made in the early 16th century and depicts the crucifixion of Jesus accompanied by Mary and John. At the top of the altar God is depicted, at the bottom one can see Veronica’s sweat cloth. The statue of Mary next to the altar originally belonged to a crucifixion group and was probably created for the village chapel in Sarnen built in 1556.

The two altar wings, which are located next to James and date from 1522, come from the sacrament chapel in Giswil. This winged altar shows the history that led to the construction of the chapel: in 1492, three thieves robbed not only the church treasures from the church in Lungern, but also consecrated hosts. They fled and divided their loot in the woods, right on the spot where the chapel stands today. They buried the Hosts on the ground. Later, one of the robbers was caught and forced to show the place where the Hosts were. A priest carefully laid them, and the perpetrator was hanged on the gallows as a punishment, as crimes against the church were considered worthy of death.

Surprisingly, a spring sprang up at the site of the Hosts. The water was soon considered miraculous, and pilgrimages to it began. In 1522, a chapel was built above the spring. In the cellar of the chapel still flows the water used by the faithful for healing purposes. In the corner to the left is a bell from the old church of Giswil, which was flooded in 1629 and later used in the sacrament chapel.

The winged altar in the rear room niche shows what such an altar looked like. The doors (altar wings) were closed on ordinary days and showed a plain and simple exterior. On holidays, however, they were opened and presented the artful carvings and paintings decorated with gold leaf

To the right of the altar wing of the sacrament chapel hangs another altar wing, which was built in 1494 for the chapel at the Beatushöhle on Lake Thun, which was an important place of pilgrimage.

Legend has it that St. Beatus came from England to the area of Lake Thun and spread the Christian doctrine there. He lived as a hermit in a cave from which he had driven a dragon. This cave also became his burial place. The Beatushöhle is today a well-known natural wonder and a tourist attraction. On the picture we see the surroundings at Lake Thun, where two pilgrims are on their way to Beatushöhle. The kneeling figure represents the donor, an Augustinian monk. The carnations on the floor are a signature of a Bernese painter’s workshop, as carnation masters marked their works with carnations instead of signing their names. The artists worked for the glory of God and not for personal glory. In the 15th century, St. Beatus, often called „Batt“, enjoyed great veneration. Many pilgrimages led to his tomb. In 1439, the government of Bern ordered a petition to him when the plague broke out. In 1528, in the course of the Reformation, the Bernese government decided to close the Beatenklause and the pilgrimage site. Berne feared that the cult of the Beatatus might stand in the way of the Reformation, and tried to stop the pilgrimages. Although Bern has the chapel on the „St. Battenloch“ and banned pilgrimages, the Obwaldenians continued to make pilgrimages there. They destroyed the walls and threatened to take back the pilgrimage route by force. The dispute was finally settled on the day charter in 1566.

In the turmoil of the Reformation, the altar wing came to Obwalden. It was kept in the Obsee chapel and used as a closet door in the sacristy, as the holes in the door lock testify. Later the painting was transferred to the convent of women in Sarnen and finally to the Historical Museum in 1910.

In the left rear corner of the room is an altar wing made of Sarnen. In 1492, the Sachsler Church received a new altar. Although Brother Klaus had only died five years ago and had not been beatified or canonized, the Saxons had his portrait painted on an altar wing. After the new church was built in 1672, the altar wings became private property. This part of the altar, the right wing, was cut and used as a cabinet door. It was first sold in 1875 and finally entered the museum in 1913. Allegedly, the buyer wanted to play down the purchase in front of his wife and claimed that the wing had been used as a barn door. This lie continued after his death and was even found in specialist literature.

The second wing with the portrait of Brother Klaus was discovered in 1945 in the same house as part of a room wall. This grand piano is now on display in the Museum Bruder Klaus in Sachseln.

On the working day side of the right wing of the altar is Christ on the Mount of Olives. At the bottom of the picture are the apostles James, Peter and John sleeping. At the top right is Judas, the apostle who betrayed Jesus. Around his neck he carries a bag of money with 30 pieces of silver, which he received for treason. This indicates the rope with which he hanged himself. Judas wears a pale yellow robe, which in the Middle Ages was the color of the socially declassed garments of shame that had to be worn, for example, by prostitutes and Jews.

On the holiday page is depicted Saint Theodore, also known as Theodul or Joder. During his lifetime he was Bishop of Martigny and is the patron saint of Valais and the diocese of Sion. He is revered as the patron saint of bells, weather and winegrowers. Its most famous attribute is the bell-bearer devil. According to legend, he saved the pope from temptation and received as thanks a bell that the devil had to carry over the Theodul Pass near Zermatt to Sitten. Another legend has it that Theodore cast out the devil from a possessed man. During the casting of new weather bells, small particles of the Sitten weather bell were added. When ringing, Theodor’s intercession was supposed to avert impending storm.

The Pentecost picture of the chapel of St. Nicholas from around 1500 hangs from the other side of the room. This, too, is a single wing of an altar. On the front is Pentecost and on the back is the patron saint of the church, St. Nicholas.

The picture above the chest shows the remains of an altar wing from the late 15th century. On the obverse, Brother Ulrich († 1491), beside him St. Sebastian and St. George are depicted. Ulrich settled in Mösli in 1469 to be close to Brother Klaus. According to legend, he first lived in a cold cave under a boulder and later in a wooden hermitage. In 1484, the Mösli chapel with the monk’s cell was built for him.

St. Wolfgang is depicted on the back of the altar wing. He was a Benedictine monk in Einsiedeln and later Bishop of Regensburg. Wolfgang became known for his ability to cure lepers, the blind and the possessed. He also distributed grain to the needy. His picture was traditionally hung over the barn doors to ask for protection from evil forces

On the side walls of the niches there are two figures of Mary. The coloured figure of Mary in the rear niche was made around 1500 and comes from the chapel of St. Niklausen in Kerns. In the statuette of Mary from the front niche, which dates from around 1330, only remains of the chalk ground and the original colour scheme can be seen.

In the rear room niche there is the winged altar from the Wilen chapel, which dates back to the 16th century. The artistically designed interior of the altar depicts the Annunciation of St. John the Baptist, Sebastian, Peter, James and Mary. It should be noted, however, that the figure in the middle does not belong to the original altar. St Margaret and St Eberhard are depicted on the working day side of the altar. The year 1604 on the altar does not refer to the year of construction, but to a renovation of the altar.

On the large panel picture in the front niche the 14 emergency workers can be seen, although not all of them are clearly recognizable. The 14 emergency workers are saints who can be called upon for various problems and needs. What makes them special is that they can work together to help with a variety of diseases and difficulties. The altarpiece was created around 1510 for the parish church in Lungern.

The panel painting in the front right corner of the room dates from around 1500 and comes from the parish church in Kerns. It shows a scene from the legend of St. Martin. In this scene Martin meets a naked beggar at the gates of Amiens. Martin divides his coat with the sword into two parts and gives the beggar half of his coat. Later, Christ appears to him in a dream, wearing the half-coat. As a Roman soldier, Martin had to pay for at least half of his coat himself, so he could dispose of the portion he had bought himself, but not the other half he gave to the beggar.

The less well-preserved reverse of the panel depicts St. Ottilia as intercessor for the poor souls in purgatory. Ottilia was abbess of the monastery of Niedermünster and is revered as patron saint of Alsace and the eye.

Behind the altar wing there are three figures, that depict the coronation of Mary. These group of figures in the Wilen chapel were probably made around 1568 for the new chapel building. In the middle is Mary, to her right God the Father and to her left Jesus. These figures are probably by the same artist as the winged altar in the rear niche of the Wilen chapel.

Bronze axe from Alpnachstad: This bronze axe is an impressive example of the advanced skills of bronze processing in Obwalden. It was found at exposed sites in the region and had a variety of uses, including wood processing, manufacturing of objects, agriculture, and possibly warfare.

Dagger blades from Giswil, Alp Fontanen: These dagger blades are scattered finds from the Bronze Age and indicate the expansion of the settlement areas in the Alps. They were probably used for hunting, personal defense and status symbols.

Pierced dog and marmot teeth from Kerns: These pierced animal teeth offer insights into the spiritual and cultural aspects of the Bronze Age in Obwalden. Their ritual or symbolic use shows the close connection between humans and their animal companions.

Traces from previous settlement
In Obwalden there are sporadic traces of settlement already before the 4th millennium BC, which are evidenced by finds such as the stone axe of Sarnen and the hammer axe of Wilen. These tools were essential for tasks such as land clearing, building huts and fences and mark the first signs of settled life.

However, there is no clear evidence of a permanent settlement from this period. Only in the Bronze Age, which lasted from about 1800 to 750 BC, there are clearer indications of a more intensive colonization of Obwalden. Finds such as pierced dog and marmot teeth in graves as well as bronze axes and daggers point to nearby settlements and testify to increased activity in the region.

The Brünig was already an important route for people traveling between the north and the south 6000 years ago. In the course of time, many different finds were left behind in the Brünig region. One of the oldest of these finds is a copper axe, which can be dated to the 4th millennium BC.

The coins found on the Brünig are also particularly interesting. A Celtic coin from the 1st century BC stands out because of its unusual minting. Another coin comes from Venice and can be dated back to about 1480. Interestingly, this Venetian coin was bent, and in the Middle Ages, bent coins were often considered a proof of love.

The discovery of horseshoes, including the first wavy horseshoe dating back to 1000 AD, shows that the Brünig played an important role in supra-regional trade relations early on. This is also underlined by the many button finds on the Brünig. A remarkable find is the soldier’s button of a French soldier from 1798, dating back to the time of the French invasion. All these findings testify to the historical and cultural heritage of the Brünig as an important connecting route between different regions.

Welcome to our fascinating exhibition ‚Traces of Time‘, which presents an extraordinary collection of artifacts that illuminate the history of mankind over several millennia. Look at these remarkable objects, which are gathered in our exhibition like silent witnesses of bygone eras.

Immerse yourself in the splendour of the Renaissance with this 15th century Venetian coin. With fine details and artistic embossing, it tells the story of the influential trading power Venice and its heyday.

Take a look at this ancient masterpiece, a fingerboard knife that was in the hands of its creators over three millennia ago. It provides insights into the craftsmanship and everyday life of past civilizations.

Experience the advancing development of horse husbandry and technology with an impressive collection of horseshoe artifacts. From the first wave horseshoes to the classic horseshoe nails, they illustrate the close relationship between humans and animals.

Marvel at the beauty and functionality of a copper axe from a time when metal tools were still rare. This remarkable relic tells of the technological advances of the Copper Age.

Consider this Celtic coin, minted more than two millennia ago. It is not only a sign of prosperity, but also an insight into the complex trade networks and cultural connections of the Celts.

Embark on a journey into the Middle Ages with this impressive treasure trove of coins. The carefully preserved coins offer insights into the economy and society of the time and tell stories of commerce, kings and intrigues.

This extraordinary collection of artifacts allows you to travel through the centuries and experience human history in all its diversity. Step into ‚Traces of Time‘ and be inspired by the past.

During excavations in 1914 and 1915, Benedictine Father Emanuel Scherer discovered a fascinating discovery in the bathhouse: the hypokaustum, a sophisticated heating system that was widely used in Roman times.

The hypocaustum consists of a series of small brick towers that serve as support pillars for the floor of the bathhouse. The actual floor of the room lies on these towers, creating a cavity. When a large fire (A) is ignited near the outer wall, the warm air flows into this cavity (B) and circulates. Special walls, made of hollow bricks, also called tubules (C), not only allow heat to penetrate into the floor, but also into the walls. These rectangular tubes allow the heated air of the hypocaustic heating to rise.

This masterpiece of ancient architecture and innovation shows how people of that time created comfort with sophisticated methods. It is impressive to see how this technology has been able to heat an entire bathhouse, and all without the modern technologies of today.

During the excavations in 1914 and 1915, the Benedictine Father Emmanuel Scherer came across the remains of a Roman manor in Uechteren, which revealed a wealth of artifacts. Typically, such Roman manor houses featured a variety of buildings, including the manor house, a bathhouse, a servants‘ house, a stable, a workshop, storerooms, a fountain, courtyard walls and a courtyard gate. The results of an excavation in 1989 confirmed and expanded the findings of Father Scherer. The dating of the settlement extends from the late 1st century to the second half of the 3rd century. These finds are of great historical importance and offer insights into the life and activities of the Roman inhabitants of this region during this period of time.

Villa Rustica features impressive Roman architecture. The main building (A) is almost square and has a vestibule supported by columns, surrounded by protruding parts of the building and forming an inner courtyard. To the east of the main building is an outbuilding (B), which was probably used as a storage shed or barn. To the north of the villa are two other buildings: a one-room building (D) with possible cultic functions and a bathhouse (C) with proven hot air heating (hypokaustum). A model of this bathhouse is exhibited here and gives an insight into the Roman bath culture and architecture. This Villa Rustica thus represents not only the daily life and way of life of the Roman inhabitants, but also their advanced architecture and technology.

At the centre of this room is the Swiss relief created in 1820 by Joachim Eugen Müller from Engelberg. This relief on a scale of 1:40000 is an impressive example of Müller’s pioneering work in the art of relief carving.

Joachim Müller was a self-taught artist, as there were no public schools in Engelberg at the time. He developed his own handwriting, which was difficult to read, which meant that he often commissioned other people to copy his letters. However, he always kept the originals with him and many of these letters have survived to this day.

A significant turning point in Müller’s life was a visit to the Titlis, which he undertook together with Johann Rudolf Meyer and the cartographer Heinrich Weiss. During this excursion, Meyer recognised Müller’s extraordinary talent. Inspired by this talent, Meyer financed and initiated Müller’s map work.

Over the course of his life, the Engelberg native created numerous reliefs, mainly of the Swiss Alps, but also some of areas in other countries. On the wall to the right of the entrance you can see two maps created by the relief. The maps were drawn by Weiss himself.
Particularly noteworthy is the larger map, which was rediscovered in 2015 in the collection of the Obwalden Historical Museum and carefully restored.