A masterpiece thriller about the Crown of the Andes

Several histories

I first saw the Crown of the Andes in the early 1990's, a time when it was in New York City, for sale.  It was to be auctioned.  

The object itself dazzled me.  The issue was not the display of riches but the display of luminescent beauty, so fragile yet so powerful, and so large.  The Crown of the Andes is BIG, made to dazzle the faithful in the streets as it was paraded through town of Popayan, Colombia on the head of a statue of the Madonna once per year.  

Sacred art is of another era, as is the Crown. Its baroque style alone, to say nothing of the immense emeralds all over it, speak of a time when power and importance were intended to capture and keep attention.  In our era, the people who know and understand such objects tend to be students and scholars, so the Crown of the Andes takes a bit of thought, actually.  Any crown for the head of the mother of Christ was to be splendid in every sense of that word.  What I mean by all of this is the WHY of it.  The WHAT of it is more a matter of art history, craftsmanship, and then the real history.  

Linda Ferreri