Monstrance and Paten of Saint Bernward (1180-1190 CE)

The Monstrance with the Paten of Saint Bernward, crafted between 1180 and 1190, is an exquisite medieval reliquary from the Saint Oswald Reliquary Workshop in Germany. This sumptuous ostensorium, designed to display ten sacred relics, integrates a richly decorated liturgical paten, a shallow disc used during the Eucharist. Fashioned in silver, gilded silver, niello, and rock crystal, the monstrance exemplifies the intricate artistry and profound spirituality of the late 12th century, offering a glimpse into the religious and artistic heritage of the Guelph Treasure.

Originating in the Saint Oswald Reliquary Workshop in Niedersachsen, Germany, this monstrance was created during a period of flourishing medieval craftsmanship, likely for the Braunschweig Cathedral. The paten, central to the monstrance, is associated with Saint Bernward (ca. 960–1022), Bishop of Hildesheim and a pivotal figure in the Ottonian Renaissance. While the paten may date to Bernward’s era (early 11th century) or shortly thereafter, the monstrance itself was constructed later, around 1180–1190, to house the paten and relics, including fragments of the True Cross. Saint Bernward, canonized in 1193, was a renowned patron of the arts, commissioning works like the Hildesheim bronze doors. The monstrance, part of the Guelph Treasure, reflects his enduring legacy. The Treasure, originally held at Braunschweig Cathedral, was sold in 1929, acquired by the Nazi regime in 1935, and later became subject to restitution disputes, underscoring its complex historical journey.

One intriguing anecdote surrounds the paten’s association with Saint Bernward. Tradition holds that Bernward, a skilled administrator and devout bishop, personally oversaw the creation of liturgical objects for Hildesheim’s churches, possibly including this paten. While direct evidence is scarce, the paten’s theological inscriptions and sophisticated iconography align with Bernward’s known patronage, suggesting it may have been a cherished object in his diocese. Another anecdote relates to the Guelph Treasure’s 20th-century odyssey: after its controversial sale under Nazi pressure, the monstrance’s presence in the Cleveland Museum of Art sparked debates over cultural heritage, making it a symbol of both medieval piety and modern ethical questions.

The monstrance holds profound cultural and artistic significance within the context of medieval Christianity and the Ottonian-Gothic transition. As a reliquary, it served as a focal point for veneration, housing relics believed to channel divine power, thus attracting pilgrims and enhancing the prestige of its host church. The paten’s iconography—featuring the enthroned Christ, symbols of the four Evangelists, and personifications of the cardinal virtues (justice, temperance, fortitude, prudence)—embodies a theological synthesis of salvation and moral virtue. The Gothic architectural elements in miniature reflect the era’s aspiration to mirror heavenly splendor in earthly creations. The monstrance’s connection to Saint Bernward ties it to the Ottonian Renaissance, a period of renewed artistic and intellectual vigor under emperors Otto I–III, where Bernward played a key role as a patron. Today, it remains a testament to the interplay of faith, art, and power in medieval Europe.

The monstrance is crafted from silver, gilded silver, niello (a black metal inlay), and rock crystal, with overall dimensions of 34.5 x 15.9 x 14 cm (13 9/16 x 6 1/4 x 5 1/2 in.). The paten, integrated into the reliquary, measures 13.5 cm (5 5/16 in.) in diameter, while the monstrance’s height reaches 34.3 cm (13 1/2 in.). The rock crystal in the gable encases fragments of the True Cross, its transparency amplifying the relic’s sanctity. Ten additional relics, wrapped in silk and identified by inscriptions, are visible only from the back, indicating dual functionality for public display and private devotion. The paten’s outer rim bears the inscription: “The bread which is broken in me is the body itself. He who receives it in good faith shall live in eternity.” A central inscription around the enthroned Christ reads: “Behold, o men, I have thus redeemed you with my death.” These inscriptions, combined with niello and gilding, demonstrate exceptional technical mastery.

The monstrance was likely created for the Braunschweig Cathedral, where it formed part of the Guelph Treasure, a collection of 82 medieval ecclesiastical objects. Associated with the Welf dynasty, the Treasure remained in Braunschweig until 1929, when it was sold to Jewish art dealers. In 1935, the Nazi regime acquired parts of the collection, leading to postwar restitution claims. By the mid-20th century, nine objects, including this monstrance, were acquired by the Cleveland Museum of Art, where it remains a centerpiece of the medieval collection.