Hans Gude’s and Adolph Tidemand’s painting Bridal journey in Hardanger (1848) in the National Museum in Oslo, has been, since 1980, thought to be the second version of this motif, a replica of a now-lost original. This article investigates this thesis on the basis of how the relationship between original and repetition was understood in the 19 th  century, and discusses why the status of the painting seems to have risen with the understanding of it as a repetition. The paper contends, however, that the painting is the original after all.