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Crown

1863 (made)
Artist/Maker
Place of origin

Every bride is a queen on her wedding day. Throughout the world brides wear special jewellery, such as tiaras or crowns, to reflect this. In Scandinavia, bridal crowns are the most spectacular part of the wedding jewellery. Their design is based on medieval royal originals, and they are made of heavy silver, often gilded.

In Norway all brides wore some kind of special headdress. In the south and east of the country it was usually made of cloth or other material, smothered with ribbons, beads and silver appliqués. Bridal crowns were mainly used in the west of Norway. They were always expensive. Some date back to the seventeenth or eighteenth century, and were handed down as heirlooms in wealthy farming families. Others, like this one, are more recent. This crown has full silver marks showing that it was made by Lauritz Hammer in Bergen in 1863. Lauritz Hammer was a silversmith who specialised in making traditional jewellery, as did his father Søren, and his son Marius.

These crowns are full of symbolic values. The crown itself recalls the crown of the Virgin, and represents purity or virginity. The lions facing each other above each panel are symbols of strength. The birds at the top of each hinge are cocks, which are an old symbol of fertility. The dangling leaves and dish-shaped pendants are typical of Scandinavian jewellery of all kinds, and were intended to deflect evil spirits.


Object details

Categories
Object type
Materials and techniques
Stamped silver-gilt sheet set with facetted red pastes
Brief description
Silver-gilt crown set with red pastes, with pendent leaves, Bergen (Norway), 1863.
Physical description
Silver-gilt crown set with red pastes. The crown consists of seven segments of gilded sheet silver, hinged together, resting on a plain circlet and secured to the circlet by two rivets at the base of each segment. Each segment has a broad base which rises in the centre to a stylised monogram supported by two lions with a crown above. There is a face below this decorative top. There are three facetted red pastes, in open-backed toothed mounts, set along the base of each segment, and one above the face, at the base of the monogram. There are two dish pendants, two leaves, and two stylised crosses hanging from the front of each segment (several missing). The segments curve outwards, so that the pendants hang clear of the body of the crown. There is a flat hollow silver figure of a herm, playing pan pipes, between each of the segments of the crown, on top of the hinges which link them together, with a hollow silver cockerel attached at right angles to the head of each herm. Each cockerel has a pendent leaf hanging from its beak. Each of the seven segments has two loops on its back, and the seven herms, one, which are threaded on a ring of thick silver wire, with a hook fastening, which holds all the pieces together. There are two shallow horizontal loops on the outside of the circlet, one at either side, which would have held ribbons.
Dimensions
  • Diameter: 320mm
  • Height: 180mm
Marks and inscriptions
  • Seven balls in a trapezoid frame. (On back of each of the seven main segments.)
    Translation
    Town mark of Bergen, from the late 18th century to 1891.
  • '63' in rectangular frame with rounded corners. (On back of each of the seven main segments.)
    Translation
    1863
  • '1' over 'M' in vertical oval frame. (On back of each of the seven main segments.)
    Translation
    The first month - January.
  • ’13 1/3’ in a rectangular frame. (On back of each of the seven main segments.)
    Translation
    Mark for 833 standard silver, Norway, 1840-1891.
  • 'L.H.' in rectangular frame. (On back of each of the seven main segments.)
    Translation
    Mark of Lauritz Hammer, of Bergen.
  • Scratch marks from 'I' to 'IIIIIII'. (Rocker engraved on back of each of the seven main segments, and the seven smaller segments.)
    Translation
    Piece marks.
Credit line
Gift of Louis C.G. Clarke
Subjects depicted
Summary
Every bride is a queen on her wedding day. Throughout the world brides wear special jewellery, such as tiaras or crowns, to reflect this. In Scandinavia, bridal crowns are the most spectacular part of the wedding jewellery. Their design is based on medieval royal originals, and they are made of heavy silver, often gilded.

In Norway all brides wore some kind of special headdress. In the south and east of the country it was usually made of cloth or other material, smothered with ribbons, beads and silver appliqués. Bridal crowns were mainly used in the west of Norway. They were always expensive. Some date back to the seventeenth or eighteenth century, and were handed down as heirlooms in wealthy farming families. Others, like this one, are more recent. This crown has full silver marks showing that it was made by Lauritz Hammer in Bergen in 1863. Lauritz Hammer was a silversmith who specialised in making traditional jewellery, as did his father Søren, and his son Marius.

These crowns are full of symbolic values. The crown itself recalls the crown of the Virgin, and represents purity or virginity. The lions facing each other above each panel are symbols of strength. The birds at the top of each hinge are cocks, which are an old symbol of fertility. The dangling leaves and dish-shaped pendants are typical of Scandinavian jewellery of all kinds, and were intended to deflect evil spirits.
Bibliographic reference
For a similar example, see p.164 of Fossberg, Jorunn, Draktsølv, Oslo, 1991.
Collection
Accession number
M.35-1922

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Record createdJune 24, 2009
Record URL
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