1000 Kronur 11.2004, Iceland
| in Krause book | Number: 59 |
| Years of issue: | 11.2004 |
| Edition: | 4 216 500 000 |
| Signatures: | Svein Harald Oygard |
| Serie: | 22 May 2001 Issue |
| Specimen of: | 1984 |
| Material: | Cotton fiber |
| Size (mm): | 150 х 70 |
| Printer: | TDLR (Thomas de la Rue & Company), London |
* All pictures marked 
are increased partially by magnifying glass, the remaining open in full size by clicking on the image.
** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
Jón Sigurðsson (June 17, 1811 - December 7, 1879). At the edges are cornerstones.
Vertical security strip, left from the center.
Avers:
The engraving on banknote is based after this old image of Brynjólfur Sveinsson.
Brynjólfur Sveinsson (1605-1675) served as the Lutheran Bishop of the see of Skálholt in Iceland. His main influence has been on modern knowledge of Old Norse literature. In 1643 he named the collection of Old Norse mythological and heroic poems Edda. Brynjólfur attributed the manuscript to Sæmundr fróði, but the scholarly consensus is that whoever wrote the Eddic poems, whether in the sense of being the compiler or the poet, it could not have been Sæmundr. It is believed that the manuscript has multiple authorship from over a long span of time. In 1650 Frederick the Third appointed Brynjólfur to succeed the late Stephanius as Royal Danish Historian. He declined the post but promised the king to do what he could to collect manuscripts in Iceland. One of his first acts was to request all people residing in his diocese to turn over to the King any old manuscripts, either an original or a copy, as a gift or for a price. Among the most monumental of the Icelandic manuscripts thus collected is the Flateyjarbók, which was secured only after a personal visit to the owner from Brynjólfur. He is also, if lesser, known for his role in the life of the poet and hymn writer Hallgrímur Pétursson.
On the borders and background featuring pictures from a bedspread in the National Museum. The patterns from Icelandic bedspread made approx. in 1700 (similar as the ones from banknote). On material is a pattern, which often was called riddarateppið (horsemen cloths), now in the National Museum. The bedspread was presented at the exhibition "Handarbejdets Fremmer" in Copenhagen, in 1966.
Riddarateppið - The origin of the cover is unknown, but its nickname, "Knight's Dot," derives from the subject: two traders, four knights and six hearted animals.
The cover was purchased for the National Museum in 1870 and is considered to be from the XVII century, yet the apparel of the figs carries the sign of the XVI century. Because of its size and shape it is likely that the cover is more than a wall, but it is 159 cm. in length and 128 cm. in width. According to Kristjáni Eldjárn, it was not known that wallpapers of this size were used in Iceland in the XVII century, and the more likely that the carpet had the role of bedspread on their "short beds" before, "and refers to little cubs in the baths that adults even shared with children.
The sewing type used on the cover has been called "old cross sewing" or "sizing." The sizing is derived from the fact that each series of traces forms "fläting," that is, the sub-traces are longer than the overspore. This sewing has been known since the late Middle Ages and is characteristic of embroidered textile work after reformation. Sewn wool strap was sewn and the base material, the headband, was completely covered with polished embroidery.
The pattern on the cover is typical of the period, on which the subject is divided into rectangular fields. Also, the pale yellow base is characteristic of this type of embroidery. Sigurður Guðmundsson painter, another supervisor of the museum at the time the cover was received, described the multifaceted pattern in its safeguard report.
The written denomination is in a typeface matching the inscription on the baptismal font at Brynjólfskirkja [Brynjólfur's church], Skálholt.
Denominations in numerals are in top corners. In the middle in words.
Revers:
Brynjólfskirkja (Brynjólfur church) (1650-1802) at Skálholt, with a cross-section of it in the background.
The Church, taught by Bishop Gísli Jónsson had been underway since 1567 when Brynjólfur became bishop and he began for the building of a new cathedral. In 1646 came two ships to the village Eyrarbakki with all materials for new church, that was built in 1650 and lasted till 1802.
Skálholt (Old Icelandic: Skálaholt) is a historical site in the south of Iceland, at the river Hvítá. Skálholt was, through eight centuries, one of the most important places in Iceland. From 1056 until 1785, it was one of Iceland's two episcopal sees, along with Hólar, making it a cultural and political center. Iceland's first official school, Skálholtsskóli (now Reykjavík Gymnasium, MR), was founded at Skálholt in 1056 to educate clergy. In 1992 the seminary in Skálholt was re-instituted under the old name and now serves as the education and information center of The Church of Iceland.
Throughout the Middle Ages there was significant activity in Skálholt, alongside the bishop's office, the cathedral, and the school, there was extensive farming, a smithy, and, while Catholicism lasted, a monastery. Along with dormitories and quarters for teachers and servants, the town made up a sizable gathering of structures. Adam of Bremen, writing circa 1075, described Skálholt (Scaldholz) as the "largest city" in Iceland. First the diocese of Skálholt was a suffragan of the Archdiocese of Hamburg-Bremen. When in 1104 the Diocese of Lund was elevated to an archdiocese, Lund became the metropolitan of Skálholt, and in 1153 Skálholt became a part of the province of Nidaros.
Continuing as the episcopal see after the Reformation to Lutheranism, the end of Catholicism in Iceland was marked in 1550 when the last Catholic bishop, Jón Arason of Hólar, was executed in Skálholt along with his two sons.
The current cathedral in Skálholt is relatively large in comparison to most Icelandic churches; its span from door to apse is approximately 30 meters. Some of its predecessors were even longer, reaching up to 50 m. in length. The new cathedral was built from 1956 to 1963 as a part of the millennial celebrations of the episcopal see.
On background is the same bedspread, as on obverse.
In lower right corner is an image of the Madonna from a gold ring, owned by Bishop Brynjólfur Sveinsson.
Denominations in numerals are in lower left and top right corners.
Comments:
Increased protection against counterfeiting:
The watermark is a portrait of Jón Sigurðsson, leader of Iceland?s independence movement. It is clearly visible on both sides of the note when held up to the light.
The note has a multicoloured metallic thread embedded in the paper, 1.2 mm. wide and windowed on the obverse. When held up to the light it appears as a continuous line. The cleartext inscription reads 1000KR.
On both sides of the note there is intaglio printing which can be detected by touch.
Microtext beneath the picture of the church on the reverse appears as an unbroken line to the naked eye, but when magnified, forms a continuous line with the words SEÐLABANKI ÍSLANDS. There is also microtext beneath the portrait of Bishop Brynjólfur Sveinsson on the obverse, forming a continuous line with the words SEÐLABANKI ÍSLANDS.
The unique serial number of the note is printed in red on the obverse, but appears yellow under ultraviolet light.
The number 1000 is printed horizontally with violet shadowing at the top left of the obverse and is repeated on the reverse. When magnified, the shadowing of the numbers forms a continuous pattern of the abbreviation SÍ.
A diamond pattern linked to the underprint is reproduced on silver foil towards the top of the middle of the obverse.
On the right half of the obverse, by the upper and lower margins, is extra small print forming a continuous line with the words SEÐLABANKI ÍSLANDS.
A fluorescent green print enclosing the number 1000 is visible towards the bottom of the middle when the note is exposed to ultraviolet light.
The paper is made of raw cotton with a different feel from that of normal paper.
A reinforced cornerstone watermark enhances the note?s durability and security.
Two vertical lines are intaglio-printed on the obverse to assist the visually handicapped in recognising this note.
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