Of all the visits I was able to make during my Danish trip, there was one I anticipated more than any other. It led me to Rosenborg Slot, the magnificent castle which houses the Crown Jewels and the Regalia of the Danish monarchy.
In the castle are displayed countless treasures, of which the actual Treasury is only a very small part.
For the sake of brevity, I will only cover the most important elements of the Treasury, namely: the Crown Jewels, i.e. the parures at the disposal of the Danish Queens; and the Regalia which were used at the Coronations of the Danish monarchs until 1840, and are presently only used during the laying-in-State (or "Castrum Doloris") of deceased sovereigns.
I will also present some lesser-known jewels which are displayed at the Museum of the Glücksburg Dynasty in Christian VIII's Palace in Amalienborg, and are currently unworn.
I arrived at Rosenborg Castle, which is located in central Copenhagen, early in the morning, some time before the opening. It was a beautiful and already warm day – the guards were wearing summer uniform for the first time – and I was quite surprised to see that the castle is actually quite small, and to have the castle's grounds (almost) for myself!
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I entered through the small bridge over the moat, and visited the castle very slowly, as the hordes of tourists hadn't arrived yet.
The castle's rooms reminded me somehow of 19th century museums: small cabinets alternating with vast spaces, filled with all sorts of curiosities: from bloodstained garments to wax busts of 17th century monarchs, from ivory sculptures to silver plate. In the basement, near the Treasury, the so-called Rosenborg Wine was kept (until 1982) in wooden barrels, the oldest of which dates back to 1598 (the wine is still served on special occasions).
Close Encounter of the Third Kind: One of the three silver lions guarding the Thrones in Rosenborg Castle's great hall.
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To see the Treasury, in the basement of the castle, one has to use a side entrance, watched permanently by armed guards, which leads to the strong rooms.
The heavy door at the entrance of the Treasury, in Rosenborg Castle's basement.
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Part of the display in the Treasury
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The Crown Jewels
The transport case made on the orders of Queen Lovisa (1851-1926), with Crown Jewels and other jewels.
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Unattributed photo.
The history and ownership of the jewels is a complicated matter:
The first time the notion of "crown jewellery" emerged was in 1746, when Christian VI's recently widowed queen, Sophie Magdalene, who believed she would soon die of grief, wrote her will and indicated that her personal jewels were always to be "with the crown."
This cache of jewels was enriched over the years by donations from various royals.
In a wonderful booklet (Power, splendour and diamonds – Denmark’s Regalia and Crown Jewels, by Peter Kristiansen) published by the Royal Danish Collection, the following information is given:
"Frederik VIII's Queen Lovisa was very interested in the crown jewels and had a transport case with three drawers made so that they could easily be moved in their entirety. She thus de facto defined which jewellery belonged to the crown jewels and even added some of her own jewellery. This definition is still used today, when Queen Margrethe is the rightful user of the crown jewels. The jewels of the royal family are owned in various ways: at Rosenborg there are the crown jewels that may only be used by the queen and may only be used within the borders of the realm. Then there is the Royal Jewellery Foundation (Kongelige Smykkefideikommis)*, which constitutes a kind of hereditary fund with which most of the royal family's jewellery is associated. This has been established to keep the jewels from disappearing from the family and to avoid their being sold. Finally there are jewels that are owned privately and that can naturally be disposed of by the owner as she wishes."
[*Kongelige Smykkefideikommis was translated to "The Royal Danish Moveable Property Trust" by the curators at Koldinghus.]
It is my understanding that the Crown Jewels kept at Rosenborg are considered to be state property. As a matter of fact, the Queen has to send a bid to the treasury each time she wishes to use the jewels, and it seems that the curators are quite reluctant to see the jewels leave Rosenborg's basement. In 2011, Mikael Melbye, who was painting a portrait of Queen Margrethe, had to change the Emeralds for pearls, as the Emerald set could not be borrowed by HM when she sat for the painter.
Today's use of the four parures is very restricted in consequence. The age of the settings, and the tradition that they shall not leave Denmark also prevents Queen Margrethe from wearing them often. It is however interesting to note that in the 1840s, upon the initiative of Queen Caroline Amalie, most of the collection of stones left Denmark for Hanau, in the German state of Hesse, where the goldsmiths C.M. Weishaupt & Sons were entrusted with the task of setting the jewels in new mounts.
In Rosenborg's Treasury and in the Amalienborg Museum are other significant items which are not exactly "Crown Jewels", but rather properties of the Royal Danish Collection.
The two showcases containing the Crown Jewels.
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The Pearl and Ruby Set
The first of the four sets of Crown Jewels is the pearl and ruby parure.
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Photo: Kongehuset – Rosenborg Slot
It is, to me, the most beautiful set of the Crown Jewels: the brilliants in the corsage jewel and ear-pendants, especially, are far superior to the other diamonds in the collection. However, I'd love to see the corsage without any pearls: the rubies alone would probably suffice to amaze us.
Detail of the corsage:
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
The pearl necklace belonged to Christian V’s consort, Queen Charlotte Amalie.
"According to an old tradition these are Norwegian river pearls, as the queens of the 1600s had an exclusive right to pearl fishing in parts of Norway. In an 1858 inventory the pearls are identified as Scottish. None of these versions can be proven, but in any case the pearls are unusual because of their size and regularity. Christian X's Queen Alexandrine did not wear the pearls during her time as Queen, and the pearls therefore became drab and grey. The pearls needed to be in contact with skin if they were to "live" again, and Queen Ingrid is said to have slept wearing the pearls several times so that they would become ready to be worn again."
"The pearls are often worn together with a set of jewellery set with brilliants and rubies and a few large, teardrop-shaped pearls. The pearl and ruby set was worked into its current form in 1842 at the wish of Queen Caroline Amalie by the goldsmith C.M. Weishaupt & Söhne, Hanau (Hesse). The rather short pearl necklace was supplemented with eight very small pearls. The queen supplied 17 rubies that had belonged to Princess Charlotte Amalie, Christian VI's sister. In addition, there are a large number of brilliants. In addition to the pearl necklace, the set includes a large brooch with leaf work and two earrings and two small locks. The brooch can be taken apart and used in a number of ways, which is very practical."
(from: Power, splendour and diamonds – Denmark’s Regalia and Crown Jewels, by Peter Kristiansen)
This is by far the most worn set of the Crown Jewels. Queen Margrethe has used the necklace and the elements of the parure in various ways over the years, often pairing them with the Pearl poiré tiara of the Floral aigrette tiara. It is safe to say that with her usual creativity, she must have exhausted the possible combinations.
Queen Ingrid wearing the brooch and earrings from the parure, with the brilliant necklace of the Crown Jewels and the pearl poiré tiara, undated photograph.
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Queen Margrethe wearing the parure over the years: (from l. to r.) In a 1997 portrait — at a Royal Theatre gala performance, May 13, 2004 — in a family portrait by Martin Mydtskov, 2009 — at her 75th birthday gala dinner, at Christiansborg Palace, 15 April 2015.
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The Emerald Garniture
The second set, which is actually the only complete parure, is the Emerald Set. It was made in 1840 for Queen Caroline Amalie by the goldsmith C.M Weishaupt.
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The parure was assembled from a composite lot of over 50 emeralds, the largest of which were originally a gift from Christian (VI) to his spendthrift wife Sophie Magdalene on the birth of their first son, the future Frederik V, in 1723; while other stones came from the bequest of Princess Charlotte Amalie, Christian VI's sister.
The tiara contains no less than 18 Emeralds, 882 brilliants and 127 roses.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
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Photo: Kongehuset – Rosenborg Slot
The necklace
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2000.
Detail:
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
The brooch
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One of the ear-pendants
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
According to jewellery author Nina Hald, "The biggest emeralds in the crown jewels are of the best quality." and come, with "99.99 %" certainty, from the Colombian mines of Muzo.
It is quite obvious that the emeralds are very fine, although they do have a rather dark aspect.
Queen Caroline Amalie "inaugurated" the new parure for her silver wedding the year after the coronation. Queen Margrethe herself wore them for the first time for the New Year's Eve in 1974. Since then, she has infrequently worn the set.
Queen Margrethe wearing the parure in a portrait by Rigmor Mydtskov, 1980 (left). Queen Ingrid also wore Empress Joséphine's bracelets with the Emerald parure, as seen in this undated photograph (centre). Queen Margrethe has also worn the round emerald from the brooch on the necklace (right).
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Diamonds: The Brilliant Set and the Rose-cut Set.
The best-known, and perhaps the most extravagant piece among the crown jewels is the necklace from the Brilliant set, which includes a corsage in the form of a bouquet of flowers, and a pair of ear-pendants.
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It was also assembled in 1840 by C.M. Weishaupt & Söhne.
"The largest, central pendant belonged to Christian VI's Queen Sophie Magdalene, while the remaining six belonged to Frederik VI's Queen Marie. The other brilliants came from the jewellery of Queen Sophie Magdalene and Princess Charlotte Amalie. The large round diamond at the bottom of the necklace, however, came from the jewellery of Christian VI's Queen Caroline Mathilde. The set includes a pair of magnificent diamond earrings. The earrings are attached normally using an ear clip, but to bear the weight of the earrings and as a form of extra security they also feature a band that goes around the ear. The Corsage is formed as a tied bouquet with leaves and flowers covered with brilliants. Several of the flowers feature yellow diamonds as their centres. The largest of the flowers is mounted ["en-tremblant"] on a spiral spring."
(adapted from: Power, splendour and diamonds – Denmark’s Regalia and Crown Jewels, by Peter Kristiansen)
According to The Danish Royal Collection, "The two drop-earrings belonged to Queen Juliane Marie.", although it is unclear if that goes for the first pair of ear-pendants, of for the two additional drop-shaped diamonds bordered with a line of small diamonds.
Necklace
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
Detail:
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
Corsage
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
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Photo: Kongehuset – Rosenborg Slot
Detail (highlighting the brownish hues of some of the stones):
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
Ear-pendants
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
The set was worn by Queen Caroline Amalie on the occasion of her anointment in 1840, as can be seen in this 1841 portrait by Joseph Désiré Court (on display at Christiansborg Palace).
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The other jewels are very intriguing, as they are probably depictions of existing pieces: the Crown, necklace and corsage are quite faithfully reproduced, and the same goes for the Queen's dress, which is preserved in the Royal Danish Collection. As such, it seems likely that the Fringe diadem and the stomacher ornaments were once part of Caroline Amalie's jewellery collection.
Caroline Amalie’s coronation robe: a gold embroidered bodice made of white satin with golden laces at the neck and on the sleeves. The skirt is also made of gold embroidered satin.
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Photo: The Royal Danish Collection.
Queen Louise (6 July 1893) and Queen Ingrid wearing the set (from l. to r.) undated photograph — Emperor Haile Selassie's State Visit to Denmark, 1954 — King Baudouin's State Visit to Denmark, 1968.
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Queen Margrethe wearing the set (from l. to r.) undated photograph — undated photograph by Lissner — Crown Prince Frederik's Wedding, 2004 — Swedish State Visit to Denmark, 2007 — New Year Reception 2012.
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The Rose-Cut Set.
Also made in 1840 for Queen Caroline Amalie, it is composed of a necklace (originally used as a belt) and two brooches of unusual design. The stones, which are of rather poor quality, with lots of inclusions and a brownish colour, belonged to Christian VI's sister, Princess Charlotte Amalie.
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Necklace-belt
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
Brooches
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
Detail:
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
An alternative way of wearing the parure:
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Photo: Kongehuset – Rosenborg Slot
Peter Kristiansen mentions in his book that "there are several photographs that show Queen Louise (Lovisa, consort to Frederik VIII) wearing the necklace as a belt". Although Queen Louise was apparently much interested in the Crown Jewels, I have yet to see a photograph of her wearing them.
Queen Margrethe II has worn elements of the rose-cut set at least once, most likely during the Norwegian State Visit to Denmark, in October 1991.
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A set of 14 costume brooches, or bouquets, of rose-cut diamonds that belonged to Princess Charlotte Amalie are also displayed. They are small, but quite beautiful. It is a shame that they haven't been made into a proper tiara!
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Photo: Kongehuset – Rosenborg Slot, 2009.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2014.
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Costume jewellery: eleven hearts of silver with rubies. From the 17th century.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2014.
Hair ornament in the form of a half-moon with brilliants and feathers of pearls. Made for Frederik VI’s consort Marie c. 1810, probably by Frederik (II) Fabritius or F.V. Henriques.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
Among the other jewels displayed in Rosenborg's Treasury is Queen Caroline Mathilde's double pearl necklace, which we discussed in the first part (it is currently displayed at Koldinghus).
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Photo: Rosenborg Slot – Facebook, 2018.
Smaller pieces are presented in the many other showcases in the Treasury (17 showcases in all). Among these is a collection of rings, which are "Frederik V’s collection of minerals: 86 different precious stones, semi-precious stones, minerals and artificial stones, set in individual rings, of which 25 carry the name of the stone in black letters on white enamel ground. The collection reflects the interest in the natural sciences shown during the Age of Enlightenment."
(The Royal Danish Collection)
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Or "Queen Caroline Mathilde’s watch, a present to the Queen from her mother-in-law, Juliane Marie. The clock case and chatelaine studded with diamonds. Made by J.F. Fistaine in Copenhagen, 1767. The works are signed: Jodin à Paris."
(The Royal Danish Collection)
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Or this very fine example of craftsmanship, "Christian VII, relief portrait in diamonds, presented to the King by the goldsmiths of Paris, 1768."
(The Royal Danish Collection)
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Queen Louise (Lovisa)'s interest for the Crown Jewels led her to create new pieces, or to complement the collection with her own jewelry. Those jewels are now exhibited at Amalienborg, in the "Gold-Cage" of Christian VIII's Palace, along with some of the jewels of the other Queen Louise, Lovisa's predecessor, consort to Christian IX.
The distinctive sautoir of seed pearls, with tassels and rings set with brilliants and emeralds — technically called "a Bayadère", was assembled for Lovisa.
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The three bracelets with five rows of pearls, on the clasps a tourmaline, a rose-cut diamond, and a brilliant, in wreaths of brilliants or emeralds were also Lovisa's.
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The delicate wild rose brooch with one large and several small rose-cut diamonds, rubies, and brilliants, along with three accompanying ruby jewels also came from her collection. It is an exquisite brooch, and I'd love to see it on Queen Margrethe.
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A new acquisition: this Gold and silver brooch with brilliants and diamonds. Inscribed on the reverse: “On the 25th Anniversary, from the Dowager Queen” was presumably given to Amalie Margrethe Wedel-Heinen (1854-1938) by Dowager Queen Lovisa (1851-1926) in 1914. Miss Wedel-Heinen was lady-in-waiting from 1899 until the Dowager Queen's death in 1926.
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From Queen Louise:
A wonderful necklace of 161 Norwegian pearls with a brilliant-mounted clasp. Matching miniature of Christian VIII, signed J. Møller, 1840, mounted with brilliants.
The pearls are still in wearable condition, with some lustre and brilliance left. It is a pity the Queen doesn't wear them.
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A solitaire brilliant, mounted on a pin.
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A brooch of brilliants and pearls with the portraits of Tsar Alexander III and Empress Dagmar, by Bolin, Saint-Petersburg, 1883.
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The Regalia
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The Danish regalia, much like the Crown Jewels, are a composite ensemble of historical artefacts, the sum of which epitomizes the Royal dignity in Denmark. All these objects were made and used in connection with the Anointing Ceremony of the Kings of Denmark.
However, these precious objects have lost their practical function, and most of their symbolic dimension, when the Absolute rule of monarchs came to an end in 1848.
By a strange historical association, it is the very Crown of the Absolute Kings, inspired by the Divine essence and unconditional might of Absolutist rulers, which has come to represent the modern Constitutional Monarchy in Denmark.
[Please note that the text of this last section is entirely adapted from the contents available on the websites of The Royal Danish Collection and The Royal House of Denmark]
Christian IV’s crown, made 1595-1596 by Dirich Fyring in Odense.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
Gold with enamel, table-cut stones and pearls; total weight 2895 g. The figures on the crown’s large points illustrate the virtues and powers of a king. In the front of the crown you see a pelican pecking itself in order to feed its offspring with the blood, symbolizing the need for every king to sacrifice his own blood in order to protect his subjects, as weel as being a traditional representation of the devotion of Christs’ sacrificial death. On top of the right arm of the king one can find Fortitudo riding a lion and over his left one sees Justitia, representing the kings’ martial skills and his position as the supreme judge. At the back of the crown one finds a breastfeeding mother showing the king as being superior to the church, showing his love to God and his devotion to his subjects.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
Inside are the coats-of-arms of the royal provinces. The crown was constructed deliberately open in spite of this being out of fashion. This is said to have been related to the crowns of the nordic Kalmarunion, a union consisting of Sweden and Norway but headed by Denmark. This deliberate choice then, was presumably meant to show his more or less legitimate claim to a unified Scandinavia. The crown was used for the last time at Frederik III’s coronation in 1648, where he decided to have it modernized, though having financial problems. He even had to redeem the crown from a banker in Hamburg, because Christian IV had it pawned.
Detail:
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
The Crown of the Absolute Monarchs, used by the kings from Christian V to Christian VIII.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann.
Made by Paul Kurtz in Copenhagen 1670-71. Gold with enamel and table-cut stones. Total weight 2080 g. On the circlet 2 sapphires (144 and 81 carats / 28.8 and 16.2 g respectively) and 2 garnets (107 and 90 carats / 21.4 and 18.0 g respectively); on the cross a red sapphire. The precious stones are presumably reused from older jewels. On the palmette above this is a table-cut diamond, behind which Christian V’s monogram in gold thread can be seen.
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Christian V’s crown was used in succession by all the kings from Christian V to Christian VIII. The image of the crown is found at the top of both the Royal Danish coat of arms and the Danish state’s coat of arms.
The crown's rounded braces create a closed form inspired by the crown of the French king, Louis XIV, and symbolise the ruler’s absolute power. The crown’s braces meet at the top in a globe, or orb, which is a sign of power and dignity for monarchs. On top of the crown’s globe is a little cross, which in the symbolic language of the time showed that only the church stood above The Crown.
The crown is decorated with various gems in the form of intertwining rows of diamonds, sapphires, and garnets. Seen at the top of the cross is a so-called corundum, which is a sapphire with a stripe of ruby, and on the crown’s front is a square block of stone with Christian V’s monogram in gold thread. It is believed that the crown’s gems are reused from older jewellery. Among other things, the sapphire on the crown’s front can be traced back to Frederik I and was presumably a gift to his father, Christian I, from the Duke of Milan in 1474.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
Christian V’s crown was last used for Christian VIII’s anointment in 1840. In 1849, the crown became ceremonially superfluous when Denmark adopted a constitutional monarchy, abolished the absolute monarchy and no longer crowned and anointed the regent. Christian V’s crown is still used when a monarch dies. It sits on the coffin under the so-called castrum doloris. The last time was for Frederik IX’s death in 1972.
The Queen’s Crown, made for Queen Sophie Magdalene by court jeweller Frederik (I) Fabritius in 1731. Used most recently in 1840. The table-cut stones are believed to have come from Queen Sophie Amalie’s crown from 1648.
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
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The Crowns of the Absolute Monarchs, seen from above. The elegance of the arches is particularly remarkable.
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The Sceptre, of gold with enamel and table-cut diamonds. Made for the coronation of Frederik III in 1648 by an unknown goldsmith in Copenhagen.
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The Orb, of gold with enamel and table-cut diamonds. Made for Frederik III’s coronation in 1648 in Hamburg; it is shown here with The Ampulla of gold with enamel and table-cut diamonds. Made for the coronation of Frederik III in 1648 by an unknown goldsmith in Copenhagen; and the Garters belonging to the Anointing Dress, made in Paris in 1840 using buckles and jewels made by Frederik (I) Fabritius in 1731.
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The Ampulla
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Photo: The Royal Danish Collection – Iben Bolling Kaufmann, 2012.
The Anointing Rapier, of gold with enamel, table-cut and rose-cut stones. Originally a wedding present from Christian IV to Frederik III in 1643. Hilt of the rapier made by the goldsmith Lucas Schaller in Hamburg. The enamelled coats-of-arms of the provinces were made for Christian V’s anointing in 1671.
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Both photos: The Royal Danish Collection – Iben Bolling Kaufmann.
Amethyst (1305 carats / 261 g.) in a casing with Christian V’s name in gold on enamel, possibly made by Paul Kurtz, 1671. The jewel was only used when the kings sat on the throne during the coronation, being otherwise replaced by an imitation. The Amethyst was used as a decoration on Frederik III’s riding trappings during the coronation in 1648.
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View of the Insignia of the orders of the Elephant and of the Dannebrog associated with the Regalia*, also showing the embroidered Swordbelt pertaining to the Anointing Dress (Gold embroidery, made by Eug. Beauvais in Paris for the anointing of Christian VIII in 1840. The jewels of gold with enamel and diamonds belonged originally to Christian V’s Swordbelt.); and the rapier and sceptre in the background.
(*see Part II of the presentation for the history of these insignia)
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This concludes the third and last part of this presentation of Danish and Foreign Royal jewellery, spanning more than five centuries and a wide range of objects, all of which are in their own way meaningful symbols of power.
I hope you enjoyed these posts, and I look forward to reading your thoughts, impressions, queries about the many jewels I tried to present here. I know most of these are well known, but I hope my work was the occasion to see them in a different perspective. I tried to communicate my enthusiasm at seeing so many marvels "in the flesh", and hope this didn't get lost in the (rather huge) volume of text and photographs (over 200)!
To end on a lighter note, I think you will like this portrait of a young Princess Benedikte, wearing her mother's Ruby parure, which seems to be a fitting conclusion.
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Thomas Ghysdaël
IMPORTANT
All photographs were taken by me, unless otherwise mentioned. They can be shared, duplicated or saved as long as I am duly acknowledged as the author (©Thomas Ghysdaël, 2018). The authors of the other pictures have been identified whenever this was possible. Please respect their work as well. Thanks for your comprehension!
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