The daily morning journal and courier., 1901-10-26
BRITIAN's IMPERIAL GROWN.

iDLNi lSAAN p lNlI I<INIAE GIlo w IN.
 There Is quite difference in actual worth between the early crowns of England's monarchs and those of later date Probably Queen Victorias i'm perial crown was the most expensive ever made. King Alfred's crown, which long ago disappeared, was mentioned In early works as being worth 9248 10 shillings. Compare with this Queen Victoria's magnificent crown, so spark ling with brilliants that the crown it. self is scarcely visible. There are by actual count 2,7S3 diamonds in this crown, some of which are large, hand some stones, and others mere chips, but all cut and set to form complete pie ture of wonderful brilliancy. In addi- tion to the diamonds there are 277 pearls, 16 sapphires, Il emeralds, and 4 rubies, besides one large ruby and sap phire of remarkable value. This large ruby is the great spinel ruby which be- longed to the Black Prince in 1867, and it has been said to be worth &l00,00O. The big sapphire is also an historical gem of almost priceless value. It was the one worn in a ring by Edward the Confessor and buried with him at Vest minister. These two stones alone make the crown of both historic and intrin- sic value far beyond that of any crown in existence.
 This crown is of more recent con- struction than the other imperial re- galia, and it shows it's modern work manship in the setting of the stones Most of the royal treasure used for the coronation and state occasions were made in 1862 At the time of the com monwealth al the crowns and royal re- galia were destroyed except the golden pitcher used for holding the amounting oil, the golden spoon, and the ancient coronation stone. After the restoration all the ancient articles were remade by Sir Robert Vyner, the royal goldsmith. His work testifies to his skill as a gold smith, and no jeweller since has been made as famous because of the fact that he received the royal commission to restore the destroyer regalia. His ambition was to initiate as closely as possible the ancient relics. For this purpose he studied the old coins and great seals of former kings to get the idea of the orbs, sceptres, and crowns The ancient style Of the JeWellers s art was to set many of the jewels with enamels on gold open work. This style of work is particularly manifest on the sceptres, where enamelled and jewelled scrolls are the chief ornaments The champleve enamel on the royal brace lets represent good work done in the days of Sir Robert Vyner, but there is also some sign of recent touching up by modern goldsmiths
 Queen Victoria's imperial crown rep resents the highest skill of modern stone-setting. and from the point of view of the diamond cutter 1t Is said to be the perfection of design. It required a. good deal of artistic skill to set so many stones in crown of that size without ruining the effect as whole. Tn fact, the setting of the stones is so light and so carefully done that one Is scarcely aware of the background The setting is of silver. and the pearls are held with gold wire. The rim of the crown is not solid metal ground, but the gems are arranged in clusters in open work. The effect Is consequently very Scientific American.