Johan Tobias Sergel
Johan Tobias Sergel was a Swedish neoclassical sculptor. Sergels torg, the largest square in the centre of Stockholm and nearby his workshop, is named after him. Johan Tobias Sergel was born in Stockholm in 1740, he was the son of the decorator, Christoffer Sergel and Elisabet, was the brother of the decorator, Anna Brita Sergel. His first teacher was Pierre Hubert Larchevêsque. After studying in Paris, he went to Rome, he sculpted a number of groups in marble. Besides subjects from classical mythology such as the Diomedes Stealing the Palladium, which he sold to the British collector, Thomas Mansel Talbot, in 1772, he sculpted a colossal representation of The Muse of History Recording the Deeds of Gustavus Adolphus, in which are depicted the achievements of King Gustav II Adolf before the Chancellor, Axel Oxenstierna, it was in Rome that he modelled the statue of King Gustav III, subsequently cast in bronze and purchased by the city of Stockholm in 1796. While a sculptor, Sergel drew sequential picture stories, an early form of comic strip.
Summoned by Gustav III, Sergel continued to work there. Among the monuments he created at this time are a tomb for Gustav Vasa, a monument to Descartes, a large relief in the church of St. Clarens, representing the Resurrection, he was an important part of the artistic elite in Stockholm, drawing a portrait of Sweden's bard Carl Michael Bellman among others. He had a relationship with the celebrated actress Fredrique Löwen and was the father of one of her children, he died in his native city on 26 February 1814. Among his works in the Nationalmuseum in Blasieholmen, central Stockholm are his monumental sculptures "Diomedes Stealing the Palladium", "The Muse of History Recording the Deeds of Gustavus Adolphus", a "Bust of Gustavus III". Gilman, D. C.. "Sergel, Johan Tobias". New International Encyclopedia. New York: Dodd, Mead. Attribution This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Sergel, Johan Tobias". Encyclopædia Britannica. Cambridge University Press.
Johan Tobias Sergel at Lambiek artists archive
Myth
Myth is a folklore genre consisting of narratives or stories that play a fundamental role in a society, such as foundational tales or origin myths. The main characters in myths are gods, demigods or supernatural humans. Stories of everyday human beings, although of leaders of some type, are contained in legends, as opposed to myths. Myths are endorsed by rulers and priests or priestesses, are linked to religion or spirituality. In fact, many societies group their myths and history together, considering myths and legends to be true accounts of their remote past. In particular, creation myths take place in a primordial age when the world had not achieved its form. Other myths explain how a society's customs and taboos were established and sanctified. There is a complex relationship between recital of myths and enactment of rituals; the study of myth began in ancient history. Rival classes of the Greek myths by Euhemerus and Sallustius were developed by the Neoplatonists and revived by Renaissance mythographers.
Today, the study of myth continues in a wide variety of academic fields, including folklore studies and psychology. The term mythology may either refer to the study of myths in general, or a body of myths regarding a particular subject; the academic comparisons of bodies of myth is known as comparative mythology. Since the term myth is used to imply that a story is not objectively true, the identification of a narrative as a myth can be political: many adherents of religions view their religion's stories as true and therefore object to the stories being characterised as myths. Scholars now speak of Christian mythology, Jewish mythology, Islamic mythology, Hindu mythology, so forth. Traditionally, Western scholarship, with its Judaeo-Christian heritage, has viewed narratives in the Abrahamic religions as being the province of theology rather than mythology. Labelling all religious narratives as myths can be thought of as treating different traditions with parity. Definitions of myth to some extent vary by scholar.
Finnish folklorist Lauri Honko offers a cited definition: Myth, a story of the gods, a religious account of the beginning of the world, the creation, fundamental events, the exemplary deeds of the gods as a result of which the world and culture were created together with all parts thereof and given their order, which still obtains. A myth expresses and confirms society's religious values and norms, it provides a pattern of behavior to be imitated, testifies to the efficacy of ritual with its practical ends and establishes the sanctity of cult. Scholars in other fields use the term myth in varied ways. In a broad sense, the word can refer to any traditional story, popular misconception or imaginary entity. However, while myth and other folklore genres may overlap, myth is thought to differ from genres such as legend and folktale in that neither are considered to be sacred narratives; some kinds of folktales, such as fairy stories, are not considered true by anyone, may be seen as distinct from myths for this reason.
Main characters in myths are gods, demigods or supernatural humans, while legends feature humans as their main characters. However, many exceptions or combinations exist, as in the Iliad and Aeneid. Moreover, as stories spread between cultures or as faiths change, myths can come to be considered folktales, their divine characters recast as either as humans or demihumans such as giants and faeries. Conversely and literary material may acquire mythological qualities over time. For example, the Matter of Britain and the Matter of France, seem distantly to originate in historical events of the fifth and eighth-centuries and became mythologised over the following centuries. In colloquial use, the word myth can be used of a collectively held belief that has no basis in fact, or any false story; this usage, pejorative, arose from labeling the religious myths and beliefs of other cultures as incorrect, but it has spread to cover non-religious beliefs as well. However, as used by folklorists and academics in other relevant fields, such as anthropology, the term myth has no implication whether the narrative may be understood as true or otherwise.
In present use, mythology refers to the collected myths of a group of people, but may mean the study of such myths. For example, Greek mythology, Roman mythology and Hittite mythology all describe the body of myths retold among those cultures. Folklorist Alan Dundes defines myth as a sacred narrative that explains how the world and humanity evolved into their present form. Dundes classified a sacred narrative as "a story that serves to define the fundamental worldview of a culture by explaining aspects of the natural world and delineating the psychological and social practices and ideals of a society". Anthropologist Bruce Lincoln defines myth as "ideology in narrative form." The compilation or description of myths is sometimes known as mythography, a term which can be used of a scholarly anthology of myths. Key mythographers in the Classical tradition include Ovid, whose tellings of myths have been profoundingly influential.
Palazzo Farnese
Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, serves as the French embassy in Italy. First designed in 1517 for the Farnese family, the building expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534, to designs by Antonio da Sangallo the Younger, its building history involved some of the most prominent Italian architects of the 16th century, including Michelangelo, Jacopo Barozzi da Vignola and Giacomo della Porta. At the end of the 16th century, the important fresco cycle of The Loves of the Gods in the Farnese Gallery was carried out by the Bolognese painter Annibale Carracci, marking the beginning of two divergent trends in painting during the 17th century, the Roman High Baroque and Classicism; the famous Farnese sculpture collection, now in the National Archeological Museum of Naples, as well as other Farnese collections, now in Capodimonte Museum in Naples, were accommodated in the palace.
"The most imposing Italian palace of the 16th century", according to Sir Banister Fletcher, this palace was designed by Antonio da Sangallo the Younger, one of Bramante's assistants in the design of St. Peter's and an important Renaissance architect in his own right. Construction began in 1515 after one or two years of preparation, was commissioned by Alessandro Farnese, appointed as a cardinal in 1493 at age 25 and was living a princely lifestyle. Work was interrupted by the Sack of Rome in 1527. When, in January 1534 Alessandro became Pope Paul III, the size of the palace was increased and he employed Michelangelo who completed the redesigned third story with its deep cornice and revised the courtyard as well; the post-1534 developments were not only a reflection of Alessandro's change in status but employed architecture to express the power of the Farnese family, much as at their Villa Farnese at Caprarola. The massive palace block and its facade dominate the Piazza Farnese. Architectural features of the main facade include the alternating triangular and segmental pediments that cap the windows of the piano nobile, the central rusticated portal and Michelangelo's projecting cornice which throws a deep shadow on the top of the facade.
Michelangelo revised the central window in 1541, adding an architrave to give a central focus to the facade, above, the largest papal stemma, or coat-of-arms with papal tiara, Rome had seen. When Paul appeared on the balcony, the entire facade became a setting for his person; the courtyard open arcades, is ringed by an academic exercise in ascending orders. The piano nobile entablature was given a frieze with garlands, added by Michelangelo. On the garden side of the palace, which faced the River Tiber, Michelangelo proposed the innovatory design of a bridge which, if completed, would have linked the palace with the gardens of the Vigna Farnese, Alessandro's holding on the opposite bank, that became incorporated into the adjacent villa belonging to the Chigi family, which the Farnese purchased in 1584 and renamed the Villa Farnesina. While the practicalities of achieving this bridge remain dubious, the idea was a bold and expansive one. During the 16th century, two large granite basins from the Baths of Caracalla were adapted as fountains in the Piazza Farnese, the "urban" face of the palace.
The palazzo was further modified for the papal nephew Ranuccio Farnese by Jacopo Barozzi da Vignola. It was completed for the second Cardinal Alessandro Farnese by Giacomo della Porta's porticoed facade towards the Tiber, finished in 1589. Following the death of Cardinal Odoardo Farnese in 1626, the palazzo stood uninhabited for twenty years. At the conclusion of the War of Castro with the papacy, Duke Odoardo was able to regain his family properties, sequestered; the resulting inventory is the oldest surviving complete inventory of Palazzo Farnese. After Odoardo's death, Pope Alexander VII allowed Queen Christina of Sweden to lodge in the palace for several months, but she "proved a tenant from hell". After her departure for Paris, the papal authorities discovered that her unruly servants not only had stolen the silver and paintings, but had "smashed up doors for firewood" and removed sections of copper roofing. Several main rooms were frescoed with elaborate allegorical programs including the Hercules cycle in the Sala d'Ercole or the Hercules Room, the "Sala del Mappamondo" or The Room of Maps, the well known The Loves of the Gods in the Farnese Gallery, both by the Bolognese painter Annibale Carracci.
Other rooms have frescoes by other artists. For generations, the room with Herculean frescoes accommodated the famous Greco-Roman antique sculpture known as the Farnese Hercules. Other works from the family collection of classical sculpture were housed in the palace. One of the vault and ceiling fresco by Annibale Carracci is an art gallery. According to Ann Sutherland Harris, "The Galleria frescoes make more extensive use of ancient sculptural and architectural sources, in addition take their basic structure from two ceilings by the most prestigious artists of the High Renaissance in Rome, the Loggia of Psyche by Raphael and Michelangelo's Sistine Chapel ceiling". Carracci adopted the quadri riportati, which the ceiling is divided into units and turned it into a collection of framed paintings, along with the cast masks among the garlands, carved putti, sculptures supporting the central scene; this large central scene depicts the triumphal progress of Ariadne. Two smaller paintings are attached t
Perspective (graphical)
Perspective in the graphic arts is an approximate representation on a flat surface, of an image as it is seen by the eye. The two most characteristic features of perspective are that objects appear smaller as their distance from the observer increases. Italian Renaissance painters and architects including Filippo Brunelleschi, Paolo Uccello, Piero della Francesca and Luca Pacioli studied linear perspective, wrote treatises on it, incorporated it into their artworks, thus contributing to the mathematics of art. Linear perspective always works by representing the light that passes from a scene through an imaginary rectangle, to the viewer's eye, as if a viewer were looking through a window and painting what is seen directly onto the windowpane. If viewed from the same spot as the windowpane was painted, the painted image would be identical to what was seen through the unpainted window; each painted object in the scene is thus a flat, scaled down version of the object on the other side of the window.
Because each portion of the painted object lies on the straight line from the viewer's eye to the equivalent portion of the real object it represents, the viewer sees no difference between the painted scene on the windowpane and the view of the real scene. All perspective drawings assume. Objects are scaled relative to that viewer. An object is not scaled evenly: a circle appears as an ellipse and a square can appear as a trapezoid; this distortion is referred to as foreshortening. Perspective drawings have a horizon line, implied; this line, directly opposite the viewer's eye, represents objects infinitely far away. They have shrunk, to the infinitesimal thickness of a line, it is analogous to the Earth's horizon. Any perspective representation of a scene that includes parallel lines has one or more vanishing points in a perspective drawing. A one-point perspective drawing means that the drawing has a single vanishing point directly opposite the viewer's eye and on the horizon line. All lines parallel with the viewer's line of sight recede to the horizon towards this vanishing point.
This is the standard "receding railroad tracks" phenomenon. A two-point drawing would have lines parallel to two different angles. Any number of vanishing points are possible in a drawing, one for each set of parallel lines that are at an angle relative to the plane of the drawing. Perspectives consisting of many parallel lines are observed most when drawing architecture; because it is rare to have a scene consisting of lines parallel to the three Cartesian axes, it is rare to see perspectives in practice with only one, two, or three vanishing points. The earliest art paintings and drawings sized many objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer, did not use foreshortening; the most important figures are shown as the highest in a composition from hieratic motives, leading to the so-called "vertical perspective", common in the art of Ancient Egypt, where a group of "nearer" figures are shown below the larger figure or figures.
The only method to indicate the relative position of elements in the composition was by overlapping, of which much use is made in works like the Parthenon Marbles. Chinese artists made use of oblique perspective from the first or second century until the 18th century, it is not certain. Oblique projection is seen in Japanese art, such as in the Ukiyo-e paintings of Torii Kiyonaga. In the 18th century, Chinese artists began to combine oblique perspective with regular diminution of size of people and objects with distance. Systematic attempts to evolve a system of perspective are considered to have begun around the fifth century BC in the art of ancient Greece, as part of a developing interest in illusionism allied to theatrical scenery; this was detailed within Aristotle's Poetics as skenographia: using flat panels on a stage to give the illusion of depth. The philosophers Anaxagoras and Democritus worked out geometric theories of perspective for use with skenographia. Alcibiades had paintings in his house designed using skenographia, so this art was not confined to the stage.
Euclid's Optics introduced a mathematical theory of perspective, but there is some debate over the extent to which Euclid's perspective coincides with the modern mathematical definition. Various paintings and drawings from the Middle Ages show amateur attempts at projections of objects, where parallel lines are represented in isometric projection, or by nonparallel ones without a vanishing point. By the periods of antiquity, artists those in less popular traditions, were well aware that distant objects could be shown smaller than those close at hand for increased realism, but whether this convention was used in a work depended on many factors; some of the paintings found in the ruins o
Fresco
Fresco is a technique of mural painting executed upon freshly laid, or wet lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, with the setting of the plaster, the painting becomes an integral part of the wall; the word fresco is derived from the Italian adjective fresco meaning "fresh", may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is associated with Italian Renaissance painting. Buon fresco pigment is mixed with room temperature water and is used on a thin layer of wet, fresh plaster, called the intonaco; because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; the chemical processes are as follows: calcination of limestone in a lime kiln: CaCO3 → CaO + CO2 slaking of quicklime: CaO + H2O → Ca2 setting of the lime plaster: Ca2 + CO2 → CaCO3 + H2O In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days.
Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name used to refer to these under-paintings. Later,new techniques for transferring paper drawings to the wall were developed; the main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, a bag of soot banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall, expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more just starting from the top of the composition; this area is called the giornata, the different day stages can be seen in a large fresco, by a sort of seam that separates one from the next. Buon frescoes are difficult to create because of the deadline associated with the drying plaster.
A layer of plaster will require ten to twelve hours to dry. Once a giornata is dried, no more buon fresco can be done, the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may be necessary to remove the whole intonaco for that area—or to change them a secco. An indispensable component of this process is the carbonatation of the lime, which fixes the colour in the plaster ensuring durability of the fresco for future generations. A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others; the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark'outlining' of his central figures within his frescoes. In a wall-sized fresco, there may be ten to twenty or more giornate, or separate areas of plaster.
After five centuries, the giornate, which were nearly invisible, have sometimes become visible, in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was covered by an a secco painting, which has since fallen off. One of the first painters in the post-classical period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist. A secco or fresco-secco painting is done on dry plaster; the pigments thus require a binding medium, such as egg, glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, work done a secco on a blank wall. Buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one.
The additional a secco work would be done to make changes, sometimes to add small details, but because not all colours can be achieved in true fresco, because only some pigments work chemically in the alkaline environment of fresh lime-based plaster. Blue was a particular problem, skies and blue robes were added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments available, works well in wet fresco, it has become clear, thanks to modern analytical techniques, that in the early Italian Renaissance painters quite employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now vanished, but a whole painting done a secco on a surface roughened to give a key for the paint may survive well
Anatomy
Anatomy is the branch of biology concerned with the study of the structure of organisms and their parts. Anatomy is a branch of natural science which deals with the structural organization of living things, it is an old science. Anatomy is inherently tied to developmental biology, comparative anatomy, evolutionary biology, phylogeny, as these are the processes by which anatomy is generated over immediate and long timescales. Anatomy and physiology, which study the structure and function of organisms and their parts, make a natural pair of related disciplines, they are studied together. Human anatomy is one of the essential basic sciences; the discipline of anatomy is divided into microscopic anatomy. Macroscopic anatomy, or gross anatomy, is the examination of an animal's body parts using unaided eyesight. Gross anatomy includes the branch of superficial anatomy. Microscopic anatomy involves the use of optical instruments in the study of the tissues of various structures, known as histology, in the study of cells.
The history of anatomy is characterized by a progressive understanding of the functions of the organs and structures of the human body. Methods have improved advancing from the examination of animals by dissection of carcasses and cadavers to 20th century medical imaging techniques including X-ray and magnetic resonance imaging. Derived from the Greek ἀνατομή anatomē "dissection", anatomy is the scientific study of the structure of organisms including their systems and tissues, it includes the appearance and position of the various parts, the materials from which they are composed, their locations and their relationships with other parts. Anatomy is quite distinct from physiology and biochemistry, which deal with the functions of those parts and the chemical processes involved. For example, an anatomist is concerned with the shape, position, blood supply and innervation of an organ such as the liver; the discipline of anatomy can be subdivided into a number of branches including gross or macroscopic anatomy and microscopic anatomy.
Gross anatomy is the study of structures large enough to be seen with the naked eye, includes superficial anatomy or surface anatomy, the study by sight of the external body features. Microscopic anatomy is the study of structures on a microscopic scale, along with histology, embryology. Anatomy can be studied using both invasive and non-invasive methods with the goal of obtaining information about the structure and organization of organs and systems. Methods used include dissection, in which a body is opened and its organs studied, endoscopy, in which a video camera-equipped instrument is inserted through a small incision in the body wall and used to explore the internal organs and other structures. Angiography using X-rays or magnetic resonance angiography are methods to visualize blood vessels; the term "anatomy" is taken to refer to human anatomy. However the same structures and tissues are found throughout the rest of the animal kingdom and the term includes the anatomy of other animals.
The term zootomy is sometimes used to refer to non-human animals. The structure and tissues of plants are of a dissimilar nature and they are studied in plant anatomy; the kingdom Animalia contains multicellular organisms that are motile. Most animals have bodies differentiated into separate tissues and these animals are known as eumetazoans, they have an internal digestive chamber, with two openings. Metazoans do not include the sponges. Unlike plant cells, animal cells have neither chloroplasts. Vacuoles, when present, are much smaller than those in the plant cell; the body tissues are composed of numerous types of cell, including those found in muscles and skin. Each has a cell membrane formed of phospholipids, cytoplasm and a nucleus. All of the different cells of an animal are derived from the embryonic germ layers; those simpler invertebrates which are formed from two germ layers of ectoderm and endoderm are called diploblastic and the more developed animals whose structures and organs are formed from three germ layers are called triploblastic.
All of a triploblastic animal's tissues and organs are derived from the three germ layers of the embryo, the ectoderm and endoderm. Animal tissues can be grouped into four basic types: connective, epithelial and nervous tissue. Connective tissues are fibrous and made up of cells scattered among inorganic material called the extracellular matrix. Connective tissue holds them in place; the main types are loose connective tissue, adipose tissue, fibrous connective tissue and bone. The extracellular matrix contains proteins, the chief and most abundant of, collagen. Collagen plays a major part in maintaining tissues; the matrix can be modified to form a skeleton to protect the body. An exoskeleton is a thickened, rigid cuticle, stiffened by mineralization, as in crustaceans or by the cross-linkin
Amalienborg
Amalienborg is the home of the Danish royal family, is located in Copenhagen, Denmark. It consists of four identical classical palace façades with rococo interiors around an octagonal courtyard. Over the years various kings and their families have resided in the four different palaces; the Frederiksstaden district was built on the former grounds of two other palaces. The first palace was called Sophie Amalienborg, it was built by Queen Sophie Amalie, consort to Frederick III, on part of the land which her father-in-law Christian IV had acquired outside of Copenhagen's old walled city, now known as the Indre By district, in the early 17th century when he had been king. Other parts of the land were used for Rosenborg Castle and the new Eastern fortified wall around the old city, it included a garden, a replacement for the "Queen’s Garden", located beyond the city's western gate Vesterport, an area today known as Vesterbro, and, destroyed under siege from Sweden in 1659. Work on the garden began in 1664, the castle was built 1669-1673.
The King died in 1670, the Queen Dowager lived there until her death on February 20, 1685. Four years on April 15, 1689 Sophie Amalie’s son King Christian V celebrated his forty-fourth birthday at the palace with the presentation of a German opera the first opera presentation in Denmark, in a specially-built temporary theatre; the presentation was a great success, it was repeated a few days on April 19. However after the start of the second performance a stage decoration caught fire, causing the theatre and the palace to burn to the ground, about 180 people lost their lives; the King planned to rebuild the palace, whose church, Royal Household and garden buildings were still intact. Ole Rømer headed the preparatory work for the rebuilding of Amalienborg in the early 1690s. In 1694, the King negotiated a deal with the Swedish building master Nicodemus Tessin the Younger, who spent some time in Copenhagen that summer reviewing the property, his drawing and model were completed in 1697. The King, found the plans too ambitious and instead began tearing down the existing buildings that same year, with the reclaimed building materials used to build a new Garrison Church.
The second Amalienborg was built by Frederick IV at the beginning of his reign. The second Amalienborg consisted of a summerhouse, a central pavilion with orangeries, arcades on both side of the pavilion. On one side of the buildings was a French-style garden, on the other side were military drill grounds; the pavilion had a dining room on the groundfloor. On the upper floor was a salon with a view out to the harbour, the garden and the drill grounds. Amalienborg is the centrepiece of Frederiksstaden, a district, built by King Frederick V to commemorate in 1748 the tercentenary of the Oldenburg family's ascent to the throne of Denmark, in 1749 the tercentenary of the coronation of Christian I of Denmark; this development is thought to have been the brainchild of Danish Ambassador Plenipotentiary in Paris, Johann Hartwig Ernst Bernstorff. Heading the project was Lord High Steward Adam Gottlob Moltke, one of the most powerful and influential men in the land, with Nicolai Eigtved as royal architect and supervisor.
The project consisted of four identical mansions, built to house four distinguished families of nobility from the royal circles, placed around an octagonal square. These mansions form the modern palace of Amalienborg, albeit much modified over the years; when the Royal Family found itself homeless after the Christiansborg Palace fire of 1794, the palaces were empty for long periods throughout the year, with the exception of the Brockdorff Palace, which housed the Naval Academy. The noblemen who owned them were willing to part with their mansions for promotion and money, the Moltke and Schack Palaces were acquired in the course of a few days. Since that date successive royal family members have lived at Amalienborg as a royal residence and kings have lent their names to the four palaces. A colonnade, designed by royal architect Caspar Frederik Harsdorff, was added 1794-1795 to connect the occupied King’s palace, Moltke Palace, with that of the Crown Prince, Schack’s Palace. According to Eigtved’s master plans for Frederikstad and the Amalienborg Palaces, the four palaces surrounding the plaza were conceived of as town mansions for the families of chosen nobility.
Their exteriors were identical. The site on which the aristocrats could build was given to them free of charge, they were further exempted from taxes and duties; the only conditions were that the palaces should comply to the Frederikstad architectural specifications, that they should be built within a specified time framework. Building of the palaces on the western side of the square started in 1750; when Eigtved died in 1754 the two western palaces had been completed. The work on the other palaces was continued by Eigtved's colleague and rival, Lauritz de Thurah according to Eigtved’s plans; the palaces were completed in 1760. The four palaces are: Christian VII's Palace known as Moltke's Palace Christian VIII's Palace known as Levetzau's Palace Frederick VIII's Palace known as Brockdorff's Palace Christian IX's Palace, originally
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One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). . Encyclopædia Britannica. 1 (11th ed.). Cambridge University Press. p. 63.
One or more of the preceding sentences incorporates text from a publication now in the 
