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Chap. XVI.
MUSEUM: FIRST CATHOLIC ERA.
253
at the conclusion of the celebration of mass; a regiment
of censers, engraved with beautiful Runic inscriptions,
the more interesting because no one can understand
them; then we have an ancient Byzantine altar,
reliquaries, and candlesticks, all of the same style,
enamelled with fleurs-de-lys and other symbolical devices;
crucifixes and crosses, Queen Dagmar’s among the
number; the carved door of an ancient Icelandic church
—all allegory — an armed knight introducing
Christianity, falcon on shoulder, the lion crouched low before
the foot of the cross. In the second panel the knight
fights lustily with Paganism, a many-headed dragon,
aided by the lion—the meaning of which I don’t quite
understand. .But I must not forget to mention the
crucifix of narwal ivory, bearing an inscription that it
was once the property of Gunhild, otherwise Helena
(the names are synonymous), daughter of King Svend,
and niece (or sister) to Canute the Great. The
existence of this princess is only known by this record, no
mention being made of her in history. In the
adjoining room are two splendid iron swords, with ivory
carved handles, of serpent decoration, of the time of our
King Canute; ancient anchors, chain armour, and
weapons of all kinds; two cases of drinking-horns,
among them that of the first abbot of Sorø, most
un-ecclesiastical in its measure. Queen Margaret’s cup, too
—her favourite ten-sided rosace drinking-cup of silver,
partly gilt; queer ivory-handled knives and ancient
silver spoons ; to say nothing of one of those wonderful
ponderous iron casques, with a sort of curtain (such as
ladies have on their bonnets, only going all round) of the
same metal, and one cross slit to look out of.
Mounting the staircase, we come to more Roman
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