26/06/2026
In 1172 Henry the Lion travelled to the Holy Land. He returned to Brunswick with two tame โleopardsโ riding on specially trained horses and laden with presents he had received not just from the Byzantine emperor Manuel Komnenos but also from the Turkish Sultan Kilij Arslan II.
This tabernacle/reliquary or at least the materials for it are often believed to have come from that journey. It was part of the "Welfenschatz", the treasures of the House of Welf. It comprised at some point 11 gold crosses, literally encrusted with precious stones, 10 movable altars, innumerable reliquaries and other liturgical objects.
This collection was initially kept as property of Braunschweig cathedral but in 1671 became private property of the House of Welf later known as the Kings of Hannover and England. Queen Victoria was unable to assume the throne of Hannover due to the Salian law so that the current house of Hannover gained ownership of the treasure.
In 1929 the family sold 82 objects to a consortium of mostly Jewish art dealers. They transferred 44 including this one to the state of Prussia and they are now in the Kunstgewerbemuseum in Berlin. The remainder is distributed across Museums in the US, Sweden and Germany. Three items were destroyed in the war and 4 came into private hands in the US in 1930/1 and remain unaccounted for.
The heirs of the art dealers are suing the German authorities for restitution of some of the objects. They argue that the Jewish owners had been forced to sell below value. A German commission concluded in 2014/15 that there were no grounds for restitution. The US Supreme Court decided in 2021 that they have no jurisdiction as long as this was a domestic German issue. Several other US courts dismissed claims in 2022 and 2023. In 2025 a new commission has picked up the case and hence the legal fight is continuing 850 years after Henry the Lion had ridden into Brunswick accompanied by two tame โleopardsโ who were however most likely cheetahs.
If you like these kinds of things, I bet you will love the History of the Germans Podcast available on Apple Podcasts, Spotify or wherever you get your podcasts (links are here: https://historyofthegermans.com/episodes/, specifically episode 62 about the fall of Henry the Lion: https://historyofthegermans.com/62-2/
Here is the official description of this tabernacle:
The shape of the dome reliquary is reminiscent of a cross-domed church. The multiform ornamentation that covers the surface of the architecture turns, as it were, the interior decoration of a church building to the outside.
The reliefs on the front sides of the arms of the cross show the Holy Family, the journey of the Magi, the crucifixion of Christ and the women at the tomb.
Under the remaining arcades are prophets holding texts of their prophecies. As representatives of the Old Covenant, they point ahead to the apostles enthroned at Christ's side on the tambour as witnesses of the New Covenant.
The inscription at the base of the tambour contains the beginning of Peter's confession (Mt 16:13-16): VENIT (AVTEM) IHC IN PARTES C(A)ESARE(A)E PHILIPPI ET INTERROGAVIT DISCIPVLOS SVOS DICENS + (When Jesus came to the area of Caesarea Philippi, he asked his disciples). The text continues in the scriptural tapes of Christ and the apostles (Who do the people think the Son of Man is? They said: Some hold him for John the Baptist, others for Elijah, still others for Jeremiah or some other prophet. Then he said to them: But you, who do you think I am? Simon Peter answered, "You are the Messiah, the Son of the living God!)
The sequence of the text shows that the position of the apostles no longer corresponds to the original arrangement.
In 1482, the head relic of St. Gregory of Nazianzus was in the domed reliquary. The lack of corresponding pictorial or inscriptional references and other reasons have recently led to the assumption that the work, like its sister piece in London's Victoria and Albert Museum, was originally not intended to serve as a reliquary but as a tabernacle for storing the host.
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ยฉ Foto: Kunstgewerbemuseum der Staatlichen Museen zu Berlin - Preuรischer Kulturbesitz
Fotograf/in: Karen Bartsch