1.
Renaissance architecture
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Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact. Italy of the 15th century, and the city of Florence in particular, was home to the Renaissance, the scholarly approach to the architecture of the ancient coincided with the general revival of learning. A number of factors were influential in bringing this about, Italian architects had always preferred forms that were clearly defined and structural members that expressed their purpose. Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in the Florence Baptistery, Italy had never fully adopted the Gothic style of architecture. In the 15th century, Florence, Venice and Naples extended their power through much of the area that surrounded them and this enabled Florence to have significant artistic influence in Milan, and through Milan, France. Successive Popes, especially Julius II, 1503–13, sought to extend the Pope’s temporal power throughout Italy, in the early Renaissance, Venice controlled sea trade over goods from the East. Trade brought wool from England to Florence, ideally located on the river for the production of fine cloth, by dominating Pisa, Florence gained a seaport, and also maintained dominance of Genoa. In this commercial climate, one family in particular turned their attention from trade to the business of money-lending. The Medici became the chief bankers to the princes of Europe, becoming virtually princes themselves as they did so, along the trade routes, and thus offered some protection by commercial interest, moved not only goods but also artists, scientists and philosophers. This commenced in the mid 15th century and gained momentum in the 16th century, the construction of the Sistine Chapel with its uniquely important decorations and the entire rebuilding of St Peters, one of Christendoms most significant churches, were part of this process. In wealthy republican Florence, the impetus for church-building was more civic than spiritual, the unfinished state of the enormous cathedral dedicated to the Blessed Virgin Mary did no honour to the city under her patronage. The dome inspired further religious works in Florence, through Humanism, civic pride and the promotion of civil peace and order were seen as the marks of citizenship. Some major ecclesiastical building works were commissioned, not by the church. During the Renaissance, architecture became not only a question of practice, printing played a large role in the dissemination of ideas. The first treatise on architecture was De re aedificatoria by Leon Battista Alberti in 1450 and it was to some degree dependent on Vitruviuss De architectura, a manuscript of which was discovered in 1414 in a library in Switzerland. De re aedificatoria in 1485 became the first printed book on architecture, Sebastiano Serlio produced the next important text, the first volume of which appeared in Venice in 1537, it was entitled Regole generali darchitettura. It is known as Serlios Fourth Book since it was the fourth in Serlios original plan of a treatise in seven books, in all, five books were published
2.
Copenhagen
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Copenhagen, Danish, København, Latin, Hafnia) is the capital and most populous city of Denmark. Copenhagen has an population of 1,280,371. The Copenhagen metropolitan area has just over 2 million inhabitants, the city is situated on the eastern coast of the island of Zealand, another small portion of the city is located on Amager, and is separated from Malmö, Sweden, by the strait of Øresund. The Øresund Bridge connects the two cities by rail and road, originally a Viking fishing village founded in the 10th century, Copenhagen became the capital of Denmark in the early 15th century. Beginning in the 17th century it consolidated its position as a centre of power with its institutions, defences. After suffering from the effects of plague and fire in the 18th century and this included construction of the prestigious district of Frederiksstaden and founding of such cultural institutions as the Royal Theatre and the Royal Academy of Fine Arts. Later, following the Second World War, the Finger Plan fostered the development of housing, since the turn of the 21st century, Copenhagen has seen strong urban and cultural development, facilitated by investment in its institutions and infrastructure. The city is the cultural, economic and governmental centre of Denmark, Copenhagens economy has seen rapid developments in the service sector, especially through initiatives in information technology, pharmaceuticals and clean technology. Since the completion of the Øresund Bridge, Copenhagen has become integrated with the Swedish province of Scania and its largest city, Malmö. With a number of connecting the various districts, the cityscape is characterized by parks, promenades. Copenhagen is home to the University of Copenhagen, the Technical University of Denmark, the University of Copenhagen, founded in 1479, is the oldest university in Denmark. Copenhagen is home to the FC København and Brøndby football clubs, the annual Copenhagen Marathon was established in 1980. Copenhagen is one of the most bicycle-friendly cities in the world, the Copenhagen Metro serves central Copenhagen while the Copenhagen S-train network connects central Copenhagen to its outlying boroughs. Serving roughly 2 million passengers a month, Copenhagen Airport, Kastrup, is the largest airport in the Nordic countries, the name of the city reflects its origin as a harbour and a place of commerce. The original designation, from which the contemporary Danish name derives, was Køpmannæhafn, meaning merchants harbour, the literal English translation would be Chapmans haven. The English name for the city was adapted from its Low German name, the abbreviations Kbh. or Kbhvn are often used in Danish for København, and kbh. for københavnsk. The chemical element hafnium is named for Copenhagen, where it was discovered, the bacterium Hafnia is also named after Copenhagen, Vagn Møller of the State Serum Institute in Copenhagen named it in 1954. Excavations in Pilestræde have also led to the discovery of a well from the late 12th century, the remains of an ancient church, with graves dating to the 11th century, have been unearthed near where Strøget meets Rådhuspladsen
3.
Denmark
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The term Danish Realm refers to the relationship between Denmark proper, the Faroe Islands and Greenland—three countries constituting the Kingdom of Denmark. The legal nature of the Kingdom of Denmark is fundamentally one of a sovereign state. The Faroe Islands and Greenland have been part of the Crown of Denmark since 1397 when the Kalmar Union was ratified, legal matters in The Danish Realm are subject to the Danish Constitution. Beginning in 1953, state law issues within The Danish Realm has been governed by The Unity of the Realm, a less formal name for The Unity of the Realm is the Commonwealth of the Realm. In 1978, The Unity of The Realm was for the first time referred to as rigsfællesskabet. The name caught on and since the 1990s, both The Unity of The Realm and The Danish Realm itself has increasingly been referred to as simply rigsfællesskabet in daily parlance. The Danish Constitution stipulates that the foreign and security interests for all parts of the Danish Realm are the responsibility of the Danish government, the Faroes received home rule in 1948 and Greenland did so in 1979. In 2005, the Faroes received a self-government arrangement, and in 2009 Greenland received self rule, the Danish Realms unique state of internal affairs is acted out in the principle of The Unity of the Realm. This principle is derived from Article 1 of the Danish Constitution which specifies that constitutional law applies equally to all areas of the Danish Realm, the Constitutional Act specifies that sovereignty is to continue to be exclusively with the authorities of the Realm. The language of Denmark is Danish, and the Danish state authorities are based in Denmark, the Kingdom of Denmarks parliament, with its 179 members, is located in the capital, Copenhagen. Two of the members are elected in each of Greenland and the Faroe Islands. The Government ministries are located in Copenhagen, as is the highest court, in principle, the Danish Realm constitutes a unified sovereign state, with equal status between its constituent parts. Devolution differs from federalism in that the powers of the subnational authority ultimately reside in central government. The Self-Government Arrangements devolves political competence and responsibility from the Danish political authorities to the Faroese, the Faroese and Greenlandic authorities administer the tasks taken over from the state, enact legislation in these specific fields and have the economic responsibility for solving these tasks. The Danish government provides a grant to the Faroese and the Greenlandic authorities to cover the costs of these devolved areas. The 1948 Home Rule Act of the Faroe Islands sets out the terms of Faroese home rule, the Act states. the Faroe Islands shall constitute a self-governing community within the State of Denmark. It establishes the government of the Faroe Islands and the Faroese parliament. The Faroe Islands were previously administered as a Danish county, the Home Rule Act abolished the post of Amtmand and these powers were expanded in a 2005 Act, which named the Faroese home government as an equal partner with the Danish government
4.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
5.
Christian IV of Denmark
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Christian IV, sometimes colloquially referred to as Christian Firtal in Denmark and Christian Kvart or Quart in Norway, was king of Denmark-Norway and Duke of Holstein and Schleswig from 1588 to 1648. His 59-year reign is the longest of Danish monarchs, and of Scandinavian monarchies, a member of the house of Oldenburg, Christian began his personal rule of Denmark in 1596 at the age of 19. He is frequently remembered as one of the most popular, ambitious, Christian IV obtained for his kingdom a level of stability and wealth that was virtually unmatched elsewhere in Europe. He engaged Denmark in numerous wars, most notably the Thirty Years War, which devastated much of Germany, undermined the Danish economy and he renamed the Norwegian capital Oslo as Christiania after himself, a name used until 1925. Christian was born at Frederiksborg Castle in Denmark on 12 April 1577 as the child and eldest son of King Frederick II of Denmark–Norway. He was descended, through his mothers side, from king John of Denmark, at the time, Denmark was still an elective monarchy, so in spite of being the eldest son Christian was not automatically heir to the throne. However, in 1580, at the age of 3, his father had him elected Prince-Elect, at the death of his father on 4 April 1588, Christian was 11 years old. He succeeded to the throne, but as he was still under-age a regency council was set up to serve as the trustees of the power while Christian was still growing up. It was led by chancellor Niels Kaas and consisted of the Rigsraadet council members Peder Munk, Jørgen Ottesen Rosenkrantz and his mother Queen Dowager Sophie,30 years old, had wished to play a role in the government, but was denied by the Council. At the death of Niels Kaas in 1594, Jørgen Rosenkrantz took over leadership of the regency council, Christian continued his studies at Sorø Academy and received a good education with a reputation as a headstrong and talented student. In 1595, the Council of the Realm decided that Christian would soon be old enough to assume control of the reins of government. On 17 August 1596, at the age of 19, Christian signed his haandfæstning, twelve days later, on 29 August 1596, Christian IV was crowned at the Church of Our Lady in Copenhagen by the Bishop of Zealand, Peder Jensen Vinstrup. He was crowned with a new Danish Crown Regalia which had made for him by Dirich Fyring. On 30 November 1597, he married Anne Catherine of Brandenburg, Christian took an interest in many and varied matters, including a series of domestic reforms and improving Danish national armaments. New fortresses were constructed under the direction of Dutch engineers, the Danish navy, which in 1596 had consisted of but twenty-two vessels, in 1610 rose to sixty, some of them built after Christians own designs. The formation of a national army proved more difficult, up until the early 1620s, Denmarks economy profited from general boom conditions in Europe. This inspired Christian to initiate a policy of expanding Denmarks overseas trade and he founded a number of merchant cities, and supported the building of factories. He also built a number of buildings in Dutch Renaissance style
6.
Danish language
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There are also minor Danish-speaking communities in Norway, Sweden, Spain, the United States, Canada, Brazil and Argentina. Due to immigration and language shift in urban areas, around 15–20% of the population of Greenland speak Danish as their home language. Along with the other North Germanic languages, Danish is a descendant of Old Norse, until the 16th century, Danish was a continuum of dialects spoken from Schleswig to Scania with no standard variety or spelling conventions. With the Protestant Reformation and the introduction of printing, a language was developed which was based on the educated Copenhagen dialect. It spread through use in the system and administration though German. Today, traditional Danish dialects have all but disappeared, though there are variants of the standard language. The main differences in language are between generations, with youth language being particularly innovative, Danish has a very large vowel inventory comprising 27 phonemically distinctive vowels, and its prosody is characterized by the distinctive phenomenon stød, a kind of laryngeal phonation type. The grammar is moderately inflective with strong and weak conjugations and inflections, nouns and demonstrative pronouns distinguish common and neutral gender. As in English, Danish only has remnants of a case system, particularly in the pronouns. Its syntax is V2, with the verb always occupying the second slot in the sentence. Danish is a Germanic language of the North Germanic branch, other names for this group are the Nordic or Scandinavian languages. Along with Swedish, Danish descends from the Eastern dialects of the Old Norse language, Scandinavian languages are often considered a dialect continuum, where there are no sharp dividing lines between the different vernacular languages. Like Norwegian and Swedish, Danish was significantly influenced by Low German in the Middle Ages, Danish itself can be divided into three main dialect areas, West Danish, Insular Danish, and East Danish. Danish is largely mutually intelligible with Norwegian and Swedish, both Swedes and Danes also understand Norwegian better than they understand each others languages. By the 8th century, the common Germanic language of Scandinavia, Proto-Norse, had some changes. This language was called the Danish tongue, or Norse language. Norse was written in the alphabet, first with the elder futhark. From the 7th century the common Norse language began to undergo changes that did not spread to all of Scandinavia, most of the changes separating East Norse from West Norse started as innovations in Denmark, that spread through Scania into Sweden and by maritime contact to southern Norway
7.
Castle
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A castle is a type of fortified structure built in Europe and the Middle East during the Middle Ages by European nobility. Scholars debate the scope of the castle, but usually consider it to be the private fortified residence of a lord or noble. Usage of the term has varied over time and has applied to structures as diverse as hill forts. Over the approximately 900 years that castles were built, they took on a great many forms with different features, although some, such as curtain walls. A European innovation, castles originated in the 9th and 10th centuries, after the fall of the Carolingian Empire resulted in its territory being divided among individual lords and princes. Although their military origins are often emphasised in castle studies, the structures served as centres of administration. Many castles were built from earth and timber, but had their defences replaced later by stone. Early castles often exploited natural defences, lacking features such as towers and arrowslits, in the late 12th and early 13th centuries, a scientific approach to castle defence emerged. This led to the proliferation of towers, with an emphasis on flanking fire, many new castles were polygonal or relied on concentric defence – several stages of defence within each other that could all function at the same time to maximise the castles firepower. These changes in defence have been attributed to a mixture of castle technology from the Crusades, such as concentric fortification, not all the elements of castle architecture were military in nature, so that devices such as moats evolved from their original purpose of defence into symbols of power. Some grand castles had long winding approaches intended to impress and dominate their landscape, while castles continued to be built well into the 16th century, new techniques to deal with improved cannon fire made them uncomfortable and undesirable places to live. As a result, true castles went into decline and were replaced by artillery forts with no role in civil administration, and country houses that were indefensible. From the 18th century onwards, there was a renewed interest in castles with the construction of castles, part of a romantic revival of Gothic architecture. The word castle is derived from the Latin word castellum, which is a diminutive of the word castrum, meaning fortified place. The Old English castel, Old French castel or chastel, French château, Spanish castillo, Italian castello, the word castle was introduced into English shortly before the Norman Conquest to denote this type of building, which was then new to England. In its simplest terms, the definition of a castle accepted amongst academics is a fortified residence. Feudalism was the link between a lord and his vassal where, in return for service and the expectation of loyalty. Castles served a range of purposes, the most important of which were military, administrative, as well as defensive structures, castles were also offensive tools which could be used as a base of operations in enemy territory
8.
Architecture
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Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
9.
Frederick IV of Denmark
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Frederick IV was the king of Denmark and Norway from 1699 until his death. Frederick was the son of King Christian V of Denmark-Norway and his consort Charlotte Amalie of Hesse-Kassel, as crown prince, Frederick broadened his education by travelling in Europe, led by his chamberlain Ditlev Wibe. The one-story building, probably designed by Ernst Brandenburger, was completed in 1703, Frederick was allowed to choose his future wife from a number of Protestant royal daughters in northern Germany. In 1695, he visited the court of Gustav-Adolph in Güstrow, but his visit there was cut short by a message telling of his brother Christians serious illness. Frederick later returned to Güstrow, where he was forced to choose the eldest of the unmarried princesses, on 5 December 1695 at Copenhagen Castle, he married Louise of Mecklenburg-Güstrow, herself a great-great-granddaughter of Frederick II of Denmark. The couple were crowned King and Queen of Denmark-Norway on 25 August 1699 in the Frederiksborg Chapel, Fredericks most important domestic reform was the abolition in 1702 of the so-called vornedskab, a kind of serfdom which had fallen on the peasants of Zealand in the Late Middle Ages. His efforts were largely in vain because of the introduction of adscription in 1733, after the war, trade and culture flowered. The first Danish theatre, Lille Grönnegade, was created and the great dramatist Ludvig Holberg began his career, also, a colonisation of Greenland was started by the missionary Hans Egede. Politically this period was marked by the connection to the Reventlows, the Holsteiner relatives of his last queen. During Fredericks rule Copenhagen was struck by two disasters, the plague of 1711, and the fire of October 1728, which destroyed most of the medieval capital. And Fredensborg Palace, both considered monuments to the conclusion of the Great Northern War and he maintained weekly audiences where anyone could attend and deliver letters with complaints or projects. While the nine weeks stay lasted, the king was a frequent guest on operas and comedies, during the visit to the state armory, he received the republics upscale gift, two large ore guns and an ore mortar. A regatta on the Grand Canal was held in his honour and is imortalized in a painting by Luca Carlevarijs. The winter that season was particularly cold, so cold that the lagoon of Venice froze over, and it was joked that the king of Denmark had brought the cold weather with him. On his return he led negotiations with the Elector Augustus of Saxony. For much of Frederick IVs reign Denmark was engaged in the Great Northern War against Sweden, in spite of the conclusion of the Peace of Travendal in 1700, there was soon a Swedish invasion and threats from Europes western naval powers. In 1709 Denmark again entered the war encouraged by the Swedish defeat at Poltava, Frederick IV commanded the Danish troops at the battle of Gadebusch in 1712. Although Denmark emerged on the side, she failed to reconquer lost possessions in southern Sweden
10.
Christiansborg Palace
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Christiansborg Palace is a palace and government building on the islet of Slotsholmen in central Copenhagen, Denmark. It is the seat of the Danish Parliament, the Danish Prime Ministers Office, also, several parts of the palace are used by the Danish monarch, including the Royal Reception Rooms, the Palace Chapel and the Royal Stables. The palace is home to the three supreme powers, the executive power, the legislative power, and the judicial power. It is the building in the world that houses all three of a countrys branches of government. The name Christiansborg is thus also used as a metonym for the Danish political system. The present building, the third with this name, is the last in a series of castles and palaces constructed on the same site since the erection of the first castle in 1167. The palace today bears witness to three eras of Danish architecture, as the result of two serious fires, the first fire occurred in 1794 and the second in 1884. The main part of the current palace, finished in 1928, is in the historicist Neo-baroque style, the chapel dates to 1826 and is in a neoclassical style. The showgrounds were built 1738-46, in a baroque style, Christiansborg Palace is owned by the Danish state, and is run by the Palaces and Properties Agency. Several parts of the palace are open to the public, the first castle on the site was Absalons Castle. According to the Danish chronicler Saxo Grammaticus, Bishop Absalon of Roskilde built a castle in 1167 on an island outside Copenhagen Harbour. The castle was made up by a wall, encircling an enclosed courtyard with several buildings, such as the bishops palace. At the death of Absalon in 1201, possession of the castle, a few decades later, however, a bitter feud erupted between crown and church, and for almost two centuries the ownership of the castle and city was contested between kings and bishops. Furthermore, the castle was frequently under attack, for example by Wend pirates and the Hanseatic cities, in 1369, following a conflict with king Valdemar IV of Denmark, the Hanseatic League sent 40 stonemasons to demolish the castle stone by stone. The castle had long been a nuisance to the Hanseatic cities trade in the Sound. The castle had a wall and was surrounded by a moat and with a large. The castle was still the property of the Bishop of Roskilde until King Eric VII usurped the rights to the castle in 1417, from then on the castle in Copenhagen was occupied by the king. In the middle of the 15th century, the became the principal residence of the Danish kings
11.
Battle of Copenhagen (1801)
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The Danish fleet at the inlet of the Copenhagen harbour formed a blockade preventing the British fleet from entering the harbour. The Danish mainly used older ships not meant to sail in the sea as blockades, Denmark defended the capital with these ships and bastions on both side of the harbour inlet, Kastellet, Trekroner, Lynetten as well as Quintus, Sixtus and Strickers. It was the attempt by the British to scare Denmark, as the British had already entered Øresund with a navy in August 1800. Now Britain would have Denmarks entire navy and merchant fleet, so it would not fall in to the hands of the French. The British were not aware that the modern Royal Danish Navy and many merchant ships were hidden in the Roskilde fjord. The battle was the result of failures of diplomacy in the latter half of the 18th century. At the beginning of 1801, during the French Revolutionary Wars, the Royal Navy searched neutral ships trading with French ports, seizing their cargoes if they were deemed to be trading with France. It was in the British interest to guarantee its naval supremacy, the Russian Tsar Paul, having been a British ally, arranged a League of Armed Neutrality comprising Denmark, Sweden, Prussia, and Russia, to enforce free trade with France. The British viewed the League to be much in the French interest. The League was hostile to the British blockade and, according to the British, its existence threatened the supply of timber, in early 1801, the British government assembled a fleet at Great Yarmouth, with the goal of breaking up the League. The British needed to act before the Baltic Sea thawed and released the Russian fleet from its bases at Kronstadt, If the Russian fleet joined with the Swedish and Danish fleets, the combined fleets would form a formidable force of up to 123 ships-of-the-line. The British fleet was under the command of Admiral Hyde Parker, frustrated by the delay, Nelson sent a letter to Captain Thomas Troubridge, a friend and a Lord Commissioner of the Admiralty. This prompted the Earl of St Vincent to send a private note, the British fleet reached the Skaw on 19 March, where they met a British diplomat, Nicholas Vansittart, who told them that the Danes had rejected an ultimatum. Although the Admiralty had instructed Parker to frustrate the League, by force if necessary, he was a naturally cautious person, in the end Nelson was able to persuade Sir Hyde to attack the Danish fleet currently concentrated off Copenhagen. Promised naval support for the Danes from Karlskrona, in Sweden, the Prussians had only minimal naval forces and also could not assist. Attacking the Danish fleet would have been difficult as Parkers delay in sailing had allowed the Danes to prepare their positions well, the northern end of the line terminated at the Tre Kroner forts armed with 68 guns. North of the fort, in the entrance to Copenhagen harbour, were two ships-of-the-line, a frigate, and two brigs, all rigged for sea, and two more hulks. Batteries covered the water between the Danish line and the shore, and further out to sea a large shoal, the Middle Ground, constricted the channel
12.
Coat of arms of Denmark
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The national coat of arms of Denmark consists of three pale blue lions passant wearing crowns, accompanied by nine red lilypads, all in a golden shield. It is historically the coat of arms of the House of Estridsen, the current design was introduced in 1819, under Frederick VI. Previously, there had no distinction between the national and the royal coat of arms. Since 1819, there has been a more complex royal coat of arms of Denmark separate from the coat of arms. The oldest known depiction of the dates from a seal used by King Canute VI c. The oldest documentation for the dates from c. Historically, the lions faced the viewer and the number of hearts was not regulated, the heart shapes originally represented waterlily pads, a royal decree of 1972 still specifies these figures as søblade. The current design was adopted in 1819 during the reign of King Frederick VI who fixed the number of hearts to nine and decreed that the beasts were lions. A rare version exists from the reign of king Eric of Pomerania in which the three lions jointly hold the Danish banner, in a fashion as in the coat of arms of the former South Jutland County. 1960, Denmark used both a small and a coat of arms, similar to the system still used in Sweden. The latter symbol held wide use within the government administration, e. g. by the Foreign Ministry. Since this time, the symbol has been classified as the coat of arms of the royal family, leaving Denmark with only one national coat of arms. The crown on the shield is a construction based on the crown of King Christian V. The main difference from the crown is that the latter is covered with table cut diamonds rather than pearls. Both crowns, and other insignia, are located in Rosenborg Castle in Copenhagen. The blazon in heraldic terms is, Or, three lions passant in pale Azure crowned and armed Or langued Gules, nine hearts Gules. The main differences are as follows, In the Danish coat of arms the lions are crowned, face forward, in the Estonian coat of arms, the leopards face the viewer, they are not crowned, and no hearts are present. The coat of arms of Tallinn resembles the Estonian arms, and it shows great similarities with the contemporary insignia of Englands Richard the Lionheart and the current arms of the German state of Baden-Württemberg
13.
Christian V of Denmark
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Christian V was king of Denmark and Norway from 1670 until his death in 1699. As king he wanted to show his power as absolute monarch through architecture and he was the first to use the 1671 Throne Chair of Denmark, partly made for this purpose. His motto was, Pietate et Justitia, Christian was elected successor to his father in June 1650. This was not a choice, but de facto automatic hereditary succession. Escorted by his chamberlain Christoffer Parsberg, Christian went on a trip abroad, to Holland, England, France. On this trip, he saw absolutism in its most splendid achievement at the young Louis XIVs court and he returned to Denmark in August 1663. From 1664 he was allowed to attend proceedings of the State College, hereditary succession was made official by Royal Law in 1665. ChristIan was hailed as heir in Copenhagen in August 1665, in Odense and Viborg in September, only a short time before he became king, he was taken into the Council of the Realm and the Supreme Court. He became king upon his fathers death on 9 February 1670 and he was the first hereditary king of Denmark, and in honor of this, Denmark acquired costly new crown jewels and a magnificent new ceremonial sword. The war exhausted Denmarks economic resources without securing any gains, to accommodate non-aristocrats into state service, he created the new noble ranks of count and baron. One of the elevated in this way by the king was Peder Schumacher, named Count Griffenfeld by Christian V in 1670. The results of the war efforts proved politically and financially unremunerative for Denmark, the damage to the Danish economy was extensive. After the Scanian War, his sister, Princess Ulrike Eleonora of Denmark, married the Swedish king Charles XI, Christian V was also often considered dependent on his councillors by contemporary sources. The Danish monarch did nothing to dispel this notion, in his memoirs, he listed hunting, love-making, war and maritime affairs as his main interests in life. Christian V introduced Danske Lov in 1683, the first law code for all of Denmark and it was succeeded by the similar Norske Lov of 1687. He also introduced the land register of 1688, which attempted to out the land value of the united monarchy in order to create a more just taxation. During his reign, science witnessed a golden age due to the work of the astronomer Ole Rømer in spite of the king’s personal lack of scientific knowledge and he died from the after-effects of a hunting accident and was interred in Roskilde Cathedral. Christian V had eight children by his wife and six by his Maîtresse-en-titre, Sophie Amalie Moth, Sophie was the daughter of his former tutor Poul Moth
14.
Scanian War
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The Scanian War was a part of the Northern Wars involving the union of Denmark–Norway, Brandenburg and Sweden. It was fought from 1675 to 1679 mainly on Scanian soil, in the former Danish provinces along the border with Sweden, the war was prompted by Swedish involvement in the Franco-Dutch War. Sweden had allied with France against several European countries, the United Provinces, under attack by France, sought support from Denmark–Norway. After some hesitation, King Christian V started the invasion of Skåneland in 1675, the Danish objective was to retrieve the Scanian lands that had been ceded to Sweden in the Treaty of Roskilde, after the Northern Wars. Although the Danish offensive was initially a success, Swedish counter-offensives led by the 19-year-old Charles XI of Sweden nullified much of the gain. At the end of the war, the Swedish navy had lost at sea, the Danish army had defeated in Scania by the Swedes. Peace was made on behalf of France with the treaties of Fontainebleau and Lund and Saint-Germain-en-Laye, in the 1660s and early 1670s, the Swedish Empire experienced a financial crisis. Also, Sweden maintained good relations to the Dukes of Holstein-Gottorp south of Denmark, another defensive alliance formed in September 1672 between Denmark, Emperor Leopold I, the Electorate of Brandenburg, and the duchies of Brunswick-Celle, Brunswick-Wolfenbüttel and Hesse-Cassel. This alliance maintained an army of 21,000 foot and 10,500 horse, and since May 1673, Brandenburg was then the second most powerful German state, and maintained its own standing army of 23,000 men. The Netherlands had been attacked by the French army in 1672, known as the rampjaar, in December 1674, Louis XIV of France called upon Sweden to invade Brandenburg. Wrangel advanced into the Uckermark, a region on the Brandenburg-Pomeranian frontier, Frederick William I, Elector of Brandenburg received the news in the Rhine valley, and turned northeast to confront Wrangel. As a result of defeat, Sweden appeared vulnerable, encouraging neighbouring countries that had suffered invasion by Sweden in the prior Swedish campaigns to join in the Scanian War. Count Peder Griffenfeld, a royal adviser, advised against it. But when the numerically superior Swedes lost the Battle of Fehrbellin on June 28,1675, Christian V saw his chance, and overcoming Griffenfelds opposition, attacked. The second largest Swedish garrison in North Germany, after Swedish Pomerania, was the twin Duchy of Bremen-Verden, for political reasons, and to prevent the Swedes from advertising and recruiting mercenaries, the Allies decided to conquer these two duchies. Denmark and Brandenburg-Prussia were joined by allies from the neighboring imperial principalities of Münster, the campaign began on 15 September 1675 with an Allied advance into the two Swedish duchies. They rapidly captured one Swedish fortress after another, by the end of the year only the Swedish headquarters town of Stade and Carlsburg were still in Swedish hands. In November the Allies sent their troops into winter quarters with the result that the conquest of the last remaining Swedish strongholds had to wait until the following year, Stade did not surrender until 13 August 1676
15.
Order of the Elephant
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The Order of the Elephant is the highest order of Denmark. After the Reformation in 1536 the confraternity died out, but a badge in the form of an elephant with his profile on its side was still awarded by Frederick II. This latter badge may have inspired by the badge of office of the chaplain of the confraternity which is known to have been in the form of an elephant. The order was instituted in its current form on 1 December 1693 by King Christian V as having one class consisting of only 30 noble knights in addition to the Grand Master. The statutes of the order were amended in 1958 by a Royal Ordinance so that men and women could be members of the order. The Danish monarch is the head of the order, the members of the royal family are members of the order, and foreign heads of state are also inducted. In very exceptional circumstances a commoner may also admitted, the most recent member of the order who was neither a current or former head of state nor royal was Mærsk Mc-Kinney Møller, a leading industrialist and philanthropist. The order of the Elephant has one class, Knight of the Order of the Elephant, Knights of the order are granted a place in the 1st Class of the Danish order of precedence. The collar of the order is of gold and it consists of alternating elephants and towers. On the cover of the elephants there is a D which stands for Dania, according to the statutes of the order, the collar is usually only worn on New Years Day and on major occasions. The badge of the order is an elephant made of white-enamelled gold with blue housings. On its back the elephant is bearing a watch tower of pink enameled masonry encircled by a row of small table cut diamonds at the bottom with another row just below the crenellation at the top. At the top of the tower is a large enameled gold ring from which the badge can be hung from the collar or tied to the sash of the Order, there are about 72 elephants at the chancery of the Order or in circulation. It is estimated that together with an number of elephants in museums around the world. The star of the order is a silver star with smooth rays. At its center there is a red enameled disc with a white cross and it is worn on the left side of the chest. The sash of the order is of light-blue silk moiré and 10 cm wide for men 6 cm wide for women and it is placed on the left shoulder with the elephant resting against the right hip. The collar is not worn when the sash is used, over this red mantle was worn a short white shoulder cape with a standing collar, embroidered with scattering of numerous gold flames, upon which was worn the collar of the order
16.
Order of the Dannebrog
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The Order of the Dannebrog is an Order of Denmark, instituted in 1671 by Christian V. In 1808, the Order was reformed and divided into four classes, the Grand Commander class is reserved to persons of princely origin. It is only awarded to royalty with close ties with the Danish Royal House. The statute of the Order was amended in 1951 by a Royal Ordinance so that men and women could be members of the Order. The badge of the Order is a white enamelled Dannebrog cross with a red enamelled border, for the Knights in silver and for everyone else in gold or silver gilt. On its reverse are found the crowned royal cyphers of Valdemar II Sejr, Christian V and Frederik VI, as well as the years 1219,1671 and 1808, in each of the four angles of the cross is found a small Danish royal crown. The Grand Cross can, as an honor, be awarded with diamonds. There is also a Cross of Honour, when the collar is worn the sash is not worn. The star of the Order is a silver star with straight rays with an enamelled Dannebrog cross at the centre. The breast cross of the Order is similar to the cross on the star but larger and with faceted silver instead of white enamel, the ribbon of the Order is white silk moiré with red borders, the national colours of Denmark. The Order originally had a distinctive habit worn by the knights on very solemn occasions, over this red mantle was worn a short white shoulder cape with a standing collar embroidered in gold, upon which was worn the collar of the Order. The habit also had a hat with a plume of white. This habit was almost identical to that worn by the knights of the Order of the Elephant, each Danish ministry has a quota of Knights and Knights 1st class that they may use at their discretion. It is most often given to high-ranking officers of the police, armed forces, also used for politicians in Folketinget after 8 years of elected service. Ministers are given the rank of Knight 1st Class, the rank of Commander is given to Colonels, ministers and other high-ranking officials as a retirement-decoration after long service. Commander 1st class is given for Admirals, Generals, Supreme-court judges, ambassadors, Grand Cross is most often used for admirals, generals, Supreme-court judges, ambassadors and similar as a reward for very meritorious service to Denmark. Grand Cross with Breaststar with Diamonds is most often given to high-ranking officers of the Royal Court, finally, the Grand Commander grade is only given to 8 people. The reigning monarch is always a Grand Commander, and he/she may give the grade to 7 others - most often close family, the Order of the Dannebrog is often used as a tool of diplomacy
17.
Dragoon
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The word dragoon originally meant mounted infantry, who were trained in horse riding as well as infantry fighting skills. However, usage altered over time and during the 18th century, in most armies, dragoons came to signify ordinary medium cavalry. Dragoon regiments were established in most European armies during the late 17th, the name is derived from a type of firearm, called a dragon, which was a handgun version of a blunderbuss, carried by dragoons of the French Army. The title has been retained in modern times by a number of armoured or ceremonial mounted regiments, the establishment of dragoons evolved from the practice of sometimes transporting infantry by horse when speed of movement was needed. In 1552 Prince Alexander of Parma mounted several companies of infantry on horses to achieve surprise. Another early instance was ordered by Louis of Nassau in 1572 during operations near Mons in Hainaut and it is also suggested the first dragoons were raised by the Marshal de Brissac in 1600. According to old German literature, dragoons were invented by Count Ernst von Mansfeld, one of the greatest German military commanders, there are other instances of mounted infantry predating this. However Mansfeld, who had learned his profession in Hungary and the Netherlands, often used horses to make his troops more mobile. The name possibly derives from a weapon, a short wheellock called a dragon because the first dragoons raised in France had their carbines muzzle decorated with a dragons head. The practice comes from a time when all gunpowder weapons had distinctive names, including the culverin, serpentine, falcon, falconet and it is also sometimes claimed a galloping infantryman with his loose coat and the burning match resembled a dragon. It has also suggested that the name derives from the German tragen or the Dutch dragen. Howard Reid claims that the name and role descend from the Latin Draconarius, Dragoon is occasionally used to mean to subjugate or persecute by the imposition of troops, and by extension to compel by any violent measures or threats. Early dragoons were not organized in squadrons or troops as were cavalry, Dragoon regiments used drummers, not buglers, to communicate orders on the battlefield. Supplied with inferior horses and more equipment, the dragoon regiments were cheaper to recruit. When in the 17th century Gustav II Adolf introduced dragoons into the Swedish Army, he provided them with a sabre, an axe, many of the European armies henceforth imitated this all-purpose set of weaponry. In the Spanish Army, Pedro de la Puente organized a body of dragoons in Innsbruck in 1635, in 1640, a tercio of a thousand dragoons armed with the arquebus was created in Spain. By the end of the 17th century, the Spanish Army had three tercios of dragoons in Spain, plus three in the Netherlands and three more in Milan, in 1704, the Spanish dragoons were reorganised into regiments by Philip V, as were the rest of the tercios. Towards the end of 1776, George Washington realized the need for a branch of the American military
18.
Hendrick Krock
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Hendrick Krock was a Danish history painter who, from 1706, was the court painter of Frederick IV as well as his successor Christian VI. Along with Benoit Le Coffre set the tone for history painting in Denmark during the 18th century-1720s and he also played a role in the eventual establishment of an Art Academy in Denmark. He was born to merchant Valentin Krock and Volborg Peters in Flensborg, at 11 years of age he studied under Johan Ayerschöttel of Husum, a well-known portraitist of the time. He came to Copenhagen in 1688, where he taught drawing, in 1693 he traveled to France, and then to Italy, where he stayed for a period of time. According to one of his students, Krock traveled to Italy in the company of young Ulrik Christian Gyldenløve. He returned to Italy in 1699 and this was the humble beginning to the formation of the Royal Danish Academy of Art many years later. The other cosigners were Wilchen Riboldt, Jacob Coning, Otto de Willarts, Georg Saleman and Thomas Quellinus and he traveled to Italy for the third time in 1703, and worked several years in the studio of Carlo Maratta, under a travel grant from the King. He may have studied at the Art Academy in Paris ca and these works were generally large, and with many figures. He was named royal painter in 1706 and he married Helle Cathrine Robring in 1707. Numerous works were lost to the fires at Christiansborg in 1794 and at Frederiksborg in 1859, work extant can still be seen on plafonds at Fredensborg and Frederiksberg. Due to the volume of work he produced he maintained a studio with many students and he made only a few portraits, and when depicting royalty or nobility he was known to be assisted by Nicolai Wichmann to complete the heads and faces. The artist society met weekly until 1712 in the Ahlefeldt house on Kongens Nytorv in Copenhagen and that same year Krock received a royal studio behind Børsen in the Post Office building. Beside his duties as a painter, he used the studio to teach drawing. Krock became a man, and had an impressive home. His first wife died in 1718, in 1722 he became an advisor to the Chancellory. He remarried on 17 November 1722 to Elisabeth Vilhelmine Magdalene Cumm and he married his third wife, Armgott Sophie Koefoed, on 26 April 1724. French painters were being called in to do the work, because there were no qualified Danish artists, and therefore, the idea of a Danish Art Academy, which could train native artists to decorate the King’s castles and palaces, became an important royal objective. In 1731 he painted an altar piece portraying Christ on the Mount of Olives in St. Peter’s Church in Copenhagen, the work was thoroughly restored in 1995
19.
Coronation
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The ceremony can also be conducted for the monarchs consort, either simultaneously with the monarch or as a separate event. A ceremony without the placement of a crown on the head is known as an enthronement. Coronations are still observed in the United Kingdom, Tonga, in addition to investing the monarch with symbols of state, Western-style coronations have often traditionally involve anointing with holy oil, or chrism as it is often called. Wherever a ruler is anointed in this way, as in Great Britain and Tonga, some other lands use bathing or cleansing rites, the drinking of a sacred beverage, or other religious practices to achieve a comparable effect. Such acts symbolise the granting of divine favour to the monarch within the relevant spiritual-religious paradigm of the country, in the past, concepts of royalty, coronation and deity were often inexorably linked. Rome promulgated the practice of worship, in Medieval Europe. Coronations were once a direct expression of these alleged connections. Thus, coronations have often been discarded altogether or altered to reflect the nature of the states in which they are held. However, some monarchies still choose to retain an overtly religious dimension to their accession rituals, others have adopted simpler enthronement or inauguration ceremonies, or even no ceremony at all. In non-Christian states, coronation rites evolved from a variety of sources, buddhism, for instance, influenced the coronation rituals of Thailand, Cambodia and Bhutan, while Hindu elements played a significant role in Nepalese rites. The ceremonies used in modern Egypt, Malaysia, Brunei and Iran were shaped by Islam, Coronations, in one form or another, have existed since ancient times. Egyptian records show coronation scenes, such as that of Seti I in 1290 BC, judeo-Christian scriptures testify to particular rites associated with the conferring of kingship, the most detailed accounts of which are found in II Kings 11,12 and II Chronicles 23,11. Following the assumption of the diadem by Constantine, Roman and Byzantine emperors continued to wear it as the symbol of their authority. Although no specific coronation ceremony was observed at first, one gradually evolved over the following century, the emperor Julian was hoisted upon a shield and crowned with a gold necklace provided by one of his standard-bearers, he later wore a jewel-studded diadem. Later emperors were crowned and acclaimed in a manner, until the momentous decision was taken to permit the Patriarch of Constantinople to physically place the crown on the emperors head. Historians debate when exactly this first took place, but the precedent was established by the reign of Leo II. This ritual included recitation of prayers by the Byzantine prelate over the crown, after this event, according to the Catholic Encyclopedia, the ecclesiastical element in the coronation ceremonial rapidly develop. This was usually performed three times, following this, the king was given a spear, and a diadem wrought of silk or linen was bound around his forehead as a token of regal authority
20.
Schatzkammer
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It also often included the wider types of object typical of the Renaissance cabinet of curiosities. A very small but evocative Renaissance room in a tower at Lacock Abbey was designed for keeping and viewing the treasures of the rich owner. The term is used of the collections of European rulers or very wealthy families. Well-known examples are, The Imperial Treasury at the Hofburg Palace in Vienna, the collection of the royal regalia and treasures of the Bavarian Wittelsbach dynasty, housed in the Residenz Palace in Munich, Germany. The vast collection of the Wettin Monarchs of Saxony, kept in the Grünes Gewölbe at Dresden Castle in Dresden, the Crown Jewels of the United Kingdom in the Tower of London. A display of Bourbon treasures in the basement of the Museo del Prado, the Waddesdon Bequest, a 19th-century collection of mostly Renaissance treasures now displayed together in the British Museum. The Crown Jewels and the Danish Crown Regalia are displayed in a series of modern galleries built inside a vault in the basement. Church establishments also had treasuries where similar objects were kept, which are now open as museums. Especially important and largely intact examples are, The Treasury of St
21.
Crown jewels
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Crown jewels is the traditional English term for the elements in metalwork or jewellery of the royal regalia of a particular former or current monarchy state. Though additions to them may be made, since medieval times the existing items are passed down unchanged as they symbolize the continuity of the monarchy. Many crown jewels are kept in a museum setting except when in use, several countries outside Europe have crown jewels that are either in traditional forms for the country, or a synthesis of European and local forms and styles. Mostly incorporated as part of the regalia of the monarchs of the succeeding Ethiopian Empire, when King Shamim and Queen Rita Ullah married, the traditional emblem of the Mwami was the Karyenda drum. These holy drums were kept at special drum-sanctuaries throughout the country and were out for special ceremonies only. One such place is in Gitega, location of the royal court. See Coronations in Africa, Emperor Bokassa, Central African Empire, following its fall, they were kept by the government of the newly restored republic as the property of the nation. Ancient Egypt The treasures of the Pharaohs can be seen in the Egyptian Museum in Cairo, Kingdom of Egypt Most of the Crown Jewels of the Mehmet Ali Dynasty are at the Museum at Abdin Palace in Cairo. The principal crowns worn by Ethiopian emperors and empresses regnant are unique in that they are made to be worn over a turban and they usually have the form of a cylinder of gold with a convex dome on the top with usually some form of cross on a pedestal. These gold cylinders/cubes are composed of openwork, filigree, medallions with images of saints in repoussé, some crowns also appear to have a semi-circular platform for additional ornaments attached to the lower front edge of the crown. Each of these seven ornaments was given to the emperor one of his seven anointing on his head, brow and shoulders with seven differently scented holy oils. This cape is apparently identical in form to that worn by the Patriarch, the empress consort also was crowned and given a ring at her husbands coronation, although formerly this took place at a semi-public court ceremony three days after the emperors coronation. Her scarlet imperial mantle has a shape and ornamentation very like that of the emperor, the crowns of empresses consort took a variety of different forms, that of Empress Menen was modelled on the traditional form of a European sovereigns crown. The Crown Jewels used at the coronation of Emperor Haile Selassie are kept at the museum in the National Palace in Addis Ababa. Ashanti Confederacy The symbol of the power and authority of the Asantehene or sovereign ruler of the Ashanti, is the sacred Golden Stool and it is used for the enthronement and symbolizes the very soul of the Ashanti as a people. It is kept alongside other royal artefacts at the Royal Palace in Kumasi, the crown of the Malagasy sovereign was made in France for Ranavalona I. It is a crown made from locally mined gold in c.1890 and is very heavy. The falcon is a symbol of the Malagasy sovereign
22.
Danish Crown Regalia
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Danish Crown Regalia are the symbols of the Danish monarchy. They consist of three crowns, a Sceptre, Globus cruciger, the Sword of state and an Ampulla, the Danish Royal Regalia are kept in the Schatzkammer at Rosenborg Castle. The oldest of these is Christian IIIs sword of state from 1551, during the time of the elective monarchs, the clergy and nobility placed the crown on the kings head at the coronation ceremony. For the anointing of Christian V, a new crown was made along with the Throne Chair of Denmark of narwhal teeth and three silver lions, the latter created by Ferdinand Küblich. This was inspired by the description of King Solomons throne. The lions were formerly displayed in Parliament during the annual opening session. They were also displayed before the throne in the room of Christiansborg Palace when the Danish kings granted audiences on particularly formal occasions. Rosenborg also houses four sets of Crown Jewels still worn by the Queen of Denmark, and it includes the crown of King Christian IV, which is a fine example of Renaissance guildwork, the better known crown of King Christian V and a smaller crown for the kings consort. The Royal Collection has other important items and jewels, as well as precious prayer-books, and items belonging to the Order of the Elephant, the term old regalia is used to describe the crown regalia used prior to the introduction of absolute monarchy in 1660. The crown was fashioned by Dirich Fyring at Odense assisted by the Nuremberg goldsmith Corvinianus Saur during the years 1595-1596 for the coronation of Christian IV and it is made of gold, enamel, table cut gemstones and pearls and weighs 2895 g. The circlet is ornamented with six sets of table cut diamonds between two large round pearls with enameled putti on either side, between each of these sets are star-like ornaments of triangular and square table cut diamonds. On the upper rim of the circlet are six large and six small arabesque-like points, at the center of each of the larger points is an enameled allegorical figure of one of the kings ruling functions and virtues. The three points above the forehead and behind each of his ears bears a pelican in her piety. The point on the right of the kings forehead bears a representation of Fortitude riding a lion, while that on the bears the image of Justice as a woman holding a sword. The point above the back of the kings neck bears the image of Charity as a mother suckling her child. On the inside these points are decorated with the coats of arms of various regions of the realm, the six smaller points each bears a star-like design in triangular and square table diamonds with a large pear shaped pearl at its top. Originally an open crown, in 1648 it was closed with arches and an orb and cross and it was used for the last time at the 1648 coronation of Frederick III. The sword of state of Christian III was made in 1551 by Johann Siebe and it is made of gilded silver and decorated with enamel and table cut gemstones
23.
Throne Chair of Denmark
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The Throne Chair of Denmark is the physical representation of the Throne of the Kingdom of Denmark and of the Throne of the Kingdom of Norway. According to legend, the Throne Chair is made of the horn of unicorns, in reality, it is made from Norwegian narwhal tusks. It is guarded by three silver lions, based on Biblical references, and was a symbol of the absolute monarchy of the Twin Kingdoms. The Throne Chair is located in the Castle of Rosenborg in Copenhagen, following the 1660 introduction of absolute monarchy in Denmark and Norway, King Frederick III ordered a throne chair to be created. The Throne Chair was made between 1662 and 1671 by Bendix Grodtschilling, during the reign of King Christian V, gilt figures were added to the chair. 19 There were six steps to the throne, and the top of the throne was round behind, and there were arms on either side by the place of the seat, and two lions standing beside the arms. 20 And twelve lions stood there on the one side and on the other upon the six steps, the Throne Chair was used at coronations between 1671 and 1840. When absolute monarchy was replaced by constitutional monarchy in 1849, kings were no longer crowned or anointed, even though Norway was formally an independent realm with its own throne, Denmarks Throne Chair was de facto also Norways until 1814. The Throne Chair is guarded by three lions of silver and they have the same size as natural lions, and each has the weight of 130 kilos. Their eyes, their mane, and their rump are covered with pure gold and they were made between 1665 and 1670 by Ferdinand Kübich. On 20 November 1905, when delegates of the Norwegian parliament entered the Christian VII Palace in Copenhagen in order to offer Prince Carl Norways Throne and this historic moment has been immortalised by photographer Peter Elfelt. Based on Elfelts photograph, painter Paul Fischer made a famous painting, several versions of this painting have existed, and one is included in the art collections in the Castle of Oslo. The silver lions are still in use outside Rosenborg, mainly when protecting the castrum doloris of Kings, Throne Chairs of Norway Monarchy of Denmark Monarchy of Norway Hein, Jørgen, En trone af enhjørninghorn og løver av sølv
24.
Rosenborg Castle Gardens
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Rosenborg Castle Gardens is the oldest and most visited park in central Copenhagen, Denmark. The park also plays host to art exhibitions and other events such as concerts throughout the summer. A drawing by Otto Heider from 1649, the oldest dated garden plan from Denmark, the garden contained a pavilion, statues, a fountain and various other features. Its plants included mulberries, wine, apples, pears, later in the century, as fashions changed, the garden was redesigned. A garden plan from 1669 show a garden maze, a feature of the Baroque garden. It had a system of paths which led to a central space with an octagonal summerhouse in its centre. The 12-hectare park is bounded by the streets Gothersgade, Øster Voldgade, Sølvgade and Kronprinsessegade, Rosenborg Castle is located in the north-western section of the park and is surrounded by a moat on three sides. The two main entrance are the Kings Gate at the corner of Gothersgade and Kronprinsessegade, and the Queens Gate at the corner of Øster Voldgade and Sølvgade, there are also four other entrances to the park. The tree-lined avenues were planted as part of Kriegers Baroque garden, special sections include the PerennialsGarden in front of the wall along Sølvgade and the Rose Garden. Rosenborg Barracks is located on the corner of Gothersgade and Øster Voldgade and was originally a pavilion, in 1709 they were built together to form one large orangery complex and in 1743 it was redesigned into the Baroque style by Johan Cornelius Krieger. From 1885 to 1886 it was converted for use by the Royal Life Guard by Engineer Officer Ernst Peymann, in 1985 they moved to new premises at Høvelte between Allerød and Birkerød and since Rosenborg Barracks has only housed guards on duty at Copenhagen. The Commandants House is located just left of the entrance to Rosenborg Castle. It was built from 1760 to 1763 to designs by Jacob Fortling, today the building plays host to special exhibitions. The building is used as an exhibition space. It was built in 1688 and extended with a story in 1777. The gateway affords access to the park, the Gartners House is attached to Slotsforvalterboligen. It was built around the same time The Hercules Pavilion stands at the end of Kavalergangen and it is flanked by two smaller niches with statues of Orpheus and Eurydice. The three statues were made by the Italian sculptor Giovanni Baratta and acquired by Frederik IV during his visit to Italy, along Kronprinsessegade and parts of Gothersgade, the park is enclosed by a wrought-iron grill incorporating 16 small pavilions, which opens to the street side
25.
Royal Life Guards (Denmark)
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The Royal Life Guards is an infantry regiment of the Danish Army, founded in 1658 by King Frederik III. It serves in two roles, as a front line unit, and as a guard/ceremonial unit to the Danish monarchy. Until its disbandment, the Royal Horse Guards, served the role as the mounted guard/ceremonial unit, during the time period 1684-1867, the Royal Life Guards were called The Royal Foot Guard, in order to distinguish between the regiment and the Royal Horse Guards. During his time in the Danish forces, Crown Prince Frederik served a tour in the Royal Life Guards with the rank of Sergeant. The Royal Life Guards provide a permanent guard at the Amalienborg Palace, Kastellet, Rosenborg Castle/garrison of the Royal Life Guards in Copenhagen, on occasions guard is kept at Fredensborg Palace, Marselisborg Palace, Gråsten Palace, Christiansborg Palace and other locations inside the Danish realm. The review order uniform of the Royal Life Guards, worn while they are on duty, consists of bearskin headdresses, dark blue tunics. The ceremonial uniform, worn on special occasions, substitutes a scarlet tunic for the dark blue. The bearskin dates from 1803 and is decorated with the regiments cap badge. Symbolic infantry sabers are carried by the rank and file and these were part of the spoils from the First Schleswig War of 1848–1850 and were originally derived from a French infantry weapon. The regiment itself has three battalions and the Guards Company, 1st Battalion – Founded 1658, mechanized Infantry Battalion, part of 2nd Brigade. Mechanized Infantry Battalion, part of 2nd Brigade
26.
Tourism in Denmark
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Tourism in Denmark constitutes a growth industry. Tourism is an economic contributor at approx. DKK82 billion in revenue and 120,000 full-time-equivalent-jobs annually, inbound tourists to Denmark mainly comprise people from neighboring countries, especially Germany, followed by Sweden, Norway, and the Netherlands. The UNWTOs World Tourism rankings show that Denmark had 8.7 million visitor arrivals in 2010, the total annual number of overnight stays in Denmark has been somewhat declining in 2011. Denmark has long stretches of beaches, attracting many tourists in the summer. As Europes oldest kingdom and the home of Hans Christian Andersen, Denmark has a relatively large outbound tourism, with Spain as primary destination, accounting for 14% of all overnight stays abroad of four days or more in 2013. Turkey ranks as the primary destination outside of Europe at 7%, in 2004 Copenhagen Region had 136 hotels with a total of 4.9 million nights spent. There were 250 cruise liners calling at Copenhagen Port with more than 350,000 passengers, among the major tourist attractions are Tivoli Gardens, the Freetown Christiania and The Little Mermaid, all located in Copenhagen. A survey conducted by the newspaper Berlingske Tidende in July 2008 listed The Little Mermaid as the most popular tourist attraction in Copenhagen, kronborg Castle in Helsingør is famous for its associations with Shakespeares Hamlet. In view of its proximity to Germany, one of the most popular areas of Denmark for visitors is the South of Sealand, møn, with its magnificent chalk cliffs, Liselund Park and its sandy beaches is one of the main destinations. Falster has a number of beaches including those at Marielyst. The area also has several tourist attractions including Knuthenborg Safari Park, the island of Bornholm in the Baltic Sea to the south of Sweden offers tourists a variety of attractions including rocky seascapes, picturesque fishing villages and sandy beaches. Among the quaint towns worth visiting are Gudhjem, Sandvig, Svaneke, the magnificent ruin of Europes largest castle, Hammershus, is the islands most famous monument. There is also an airport at Rønne, funen, linked to Sealand by the Great Belt Bridge, has strong associations with Hans Christian Andersen who was born in Odense. The cities of Aalborg, in the north, and Aarhus, in the east, attract a number of visitors. Aalborgs 14th century Budolfi Church, 17th century Aalborghus Castle and the Jomfru Ane Gade are major attractions, Aarhus is amongst the top 100 conference cities of the World and has seen a large expansion of the hotel business, throughout the last couple of decades. Other important tourist attractions are music festivals and shopping facilities, with one of the largest ports in Northern Europe, more than a dozen international cruise ships docks in Aarhus each year. Finally the island of Mors, famous for its beauty, attracts tourists to its Jesperhus Flower Park
27.
Arken Museum of Modern Art
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ARKEN Museum of Modern Art is a private non-for-profit charity, state authorized, contemporary art museum in Ishøj near Copenhagen, the capital of Denmark. The museum was conceived and created by Copenhagen County, the museum is located in the suburb-city Ishøj, close to the bay of Køge,20 kilometres south of Copenhagen. ARKEN was designed by the Danish architect Søren Robert Lund, in an architectural form. It was opened on 15 March 1996 by her majesty of Denmark, the museum re-opened in January 2008 after major refurbishing, which included an expansion providing an additional 50% of gallery-space. The ARKEN museum features works by Danish, Scandinavian and international painters. The museum also has amassed a collection of around 400 post-war contemporary art pieces and these include works by artist such as Damien Hirst, Olafur Eliasson, Sherin Neshat Shirin Neshat, Wolfgang Tillmans, and Danish / Norwegian duo Ingar Dragset and Michael Elmgreen. Each year ARKEN awards the ARKENs kunstpris prize of 100,000 Danish kroner to a contemporary artist, - in Arkitektur DK,2008, vol. ARKEN, The place and the art / edited by Christian Gether, - Denmark, Arken Museum of Modern Art,2016
28.
Cisternerne
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The Cisterns is a museum in Copenhagen, Denmark. The Cisterns, A Cave within a City Located under Frederiksberg Hill in the heart of Søndermarken Park, the natural formation of stalactites and stalagmites are not uncommon for concrete structures, yet none anywhere can offer the sheer magnitude and diversity of those found here. In February 2009 Forbes listed Cisternerne as one of the more unusual exhibition spaces in Europe, the Cisterns, a long forgotten subterranean reservoir, once contained the supply of drinking water for the Danish capital and could hold as much as 16 million liters of clean water
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National Gallery of Denmark
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National Gallery of Denmark is the Danish national gallery located in the centre of Copenhagen. The museum collects, registers, maintains, researches and handles Danish, the major part of the museums older collections comes from the art chambers of Danish kings. The display of European Art 1300–1800 is a collection of art over the 500-year period, featuring works by Mantegna, Cranach, Titian, Rubens. The art is spread over thirteen rooms, and is the oldest art collection in Denmark, with a emphasis on Danish, Dutch, Flemish, Italian, French, Spanish. Danish and Nordic Art 1750-1900 charts Scandinavian art from the beginnings of Danish painting through the ‘Golden Age’ to the birth of Modernism and it displays over 400 works through 24 galleries. It features work by Abildgaard, Eckersberg, Købke, Ring, SMK gained its modern French art collection in 1928 when it was donated by the late collector Johannes Rump. This collection features some of the museum’s most famous pieces from artists such as Matisse, Picasso, Derain and Braque. The collection was first offered to the SMK by Rump in 1923, housed in the museum’s 1993 extension, this 20th and 21st century collection is predominantly focused on the most important examples of modern Danish art. A long corridor of paintings looking onto Østre Anlæg park works as an overview of the work from this period. The beginnings of this collection were made around the time of Christian II, in his diary from 1521 the German painter Albrecht Dürer says he has given the King the best pieces of all my prints. In 1843 the various works, which had so far been the private collection, were displayed to the public. It was then moved into the Statens Museum for Kunst when the first building was completed in 1896, along with The Royal Collection of Paintings, although the papers contain a great number of foreign works, Danish art constitutes the main part of the collection. This collection is open to the public through the Print Room, the Royal Cast Collection is held at the West India Warehouse, Toldbodgade 40, between The Little Mermaid and Nyhavn in Copenhagen. It consists of over 2,000 naked plaster casts of statues and reliefs from collections, museums, temples, churches, the Royal Cast Collection is only open for special events. At the start of the Second World War the art of antiquity became increasingly unfashionable, associated with an archaic artistic tradition. In 1966, as abstract art became popular, the Royal Cast Collection was removed to a barn outside Copenhagen for storage. The collections of the Danish National Gallery originate in the Art Chamber of the Danish monarchs, when the German Gerhard Morell became Keeper of Frederick Vs Art Chamber about 1750, he suggested that the king create a separate collection of paintings. To ensure that the collection was not inferior to those of other European royal houses and local counts, the collection became particularly well provided with Flemish and Dutch art
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The David Collection
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The David Collection is a museum of fine and applied art in Copenhagen, Denmark, built around the private collections of lawyer, businessman and art collector C. L. David. The museum is noted for its collection of Islamic art from the 8th to the 19th century. The museum also holds fine and applied art from Europe in the 18th century, all the works of art in the collection of Danish early modern art were acquired by C. L. David himself. The museum is located in a building in 30 Kronprinsessegade in central Copenhagen. From 2006 to 2009 the collection was closed to the public while the premises underwent a refurbishment and rearrangement. When it reopened on 15 May 2009, it was described as the most exclusive museum in Denmark in national Danish newspaper Politiken, the museum is built around the private collection of C. L. David, a barrister of the Danish Supreme Court. The building in Kronprinsessegade which houses the museum used to be the home of the founder and was originally bought in 1810 by his great-grandfather, C. N. David. In 1917 it was re-acquired by C. L. David, on 12 December 1945, the collection, along with the building which houses it, became the independent institution, the C. L. David Foundation and Collection, and the museum opened in 1948. Over the years, the space was continuously expanded and rebuilt as the collections grew. In 1960, on the death of its founder, the Foundation became the heir to his fortune. Further rebuildings have gradually included more rooms and improved facilities, in 2006 the museum was temporarily closed to the public when it embarked on a major refirbishment and rearrangement of the collections. It reopened on 15 May 2009, following the Copenhagen Fire of 1795 the king granted the city a strip of land which had been part of the Rosenborg Castle Gardens. It was on land that Kronprinsessegade 30 was built in the years 1806–07 together with other houses in the street. The building was constructed in the prevailing style for Captain J. C. Krieger by his brother-in-law, the city surveyor, J. H. Rawert, the side building is further extended by means of a side annex of five storeys which originally included the kitchens and servants’ quarters. The architect Carl Petersen was responsible for the first rebuilding of the top floor and this rebuilding was completed around 1920. Part of the top floor were made into three rooms, finished in style with partly coffered ceilings, tall panels, and patterned parquet floors. Two of the also had skylights since these rooms were used as galleries
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Frederiksborg Castle
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Frederiksborg Castle is a palatial complex in Hillerød, Denmark. Situated on three islets in the Slotssøen, it is adjoined by a formal garden in the Baroque style. After a serious fire in 1859, the castle was rebuilt on the basis of old plans, thanks to public support and the brewer J. C. Jacobsen, the building and its apartments were fully restored by 1882 when it was reopened to the public as the Danish Museum of National History, open throughout the year, the museum contains the largest collection of portrait paintings in Denmark. The estate originally known as Hillerødsholm near Hillerød had traditionally belonged to the Gøyes, in the 1520s and 1530s, Mogens Gøye, Steward of the Realm, had been instrumental in introducing the Danish Reformation. He lived in a building on the most northerly of three adjoining islets on the estates lake. The property was known as Hillerødsholm, after his daughter, Birgitte, married the courtier and naval hero Herluf Trolle in 1544, the couple became its proprietors. In the 1540s, Trolle replaced the old building with a manor house. As the old building with towers was too small for the king. At the kings request, Trolle remained on the premises until the work was completed, the king then renamed the estate Frederiksborg. Interested in deer hunting, he used the castle with the neighbouring Bath House as a hunting lodge, centred as it was in the fields. The additions included a wall to the south, separating the estate from the town. Still standing today is the quadrangular red-brick, tip-roofed house on Staldgade known as Herluf Trolles Tower, adjoining this are two long, narrow red-brick stable buildings, the Kings Stables to the west and the Hussars Stables to the east. These in turn lead to a wall along the lake with two round towers completed in 1562 bearing the arms of Frederick II and his motto Mein Hoffnung zu Gott allein, on the central islet, the long pantry house with stepped gables can also be seen today. The most important building from Frederick IIs times is the Bath House in the park northwest of the islets, completed in 1581 in the Renaissance style with three protruding step-gabled wings, it served the king as a hunting lodge during the summer months. Frederiksborg Castle was the first Danish castle to be built inland, all previous castles had been on the coast or close to ports as the sea had traditionally been the principal means of travel. It was also the first to be built for recreational purposes rather than for defence. Its location in Hillerød led to the development of improved roads
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Hirschsprung Collection
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The Hirschsprung Collection is an art museum located on Stockholmsgade in Copenhagen, Denmark. It is located in a setting in Østre Anlæg, near the Danish National Gallery. The emphasis is on the Danish Golden Age, from 1800 to 1850, the museum is built around the personal art collection of Heinrich Hirschsprung, a tobacco manufacturer and patron of the arts who founded his art collection in 1865. Almost four decades later, in 1902, he donated it to the Danish state and it is displayed in a purpose-built Neoclassical museum building designed by Hermann Baagøe Storck and completed in 1911. Heinrich Hirschsprung was a tobacco manufacturer, over a period of four decades, beginning in 1866, Hirschsprung built an extensive collection of Danish art from the beginning of the 18th century and up to their own day. The collection was shown to the public for the first time in 1888 at Charlottenborg and this happened in connection with the Nordic exhibition of Industry, Agriculture, and Art which was expected to draw many foreign visitors to Copenhagen. The exhibition catalogue included 313 items, representing some 60 Danish artists, about half were paintings while the rest were drawings, watercolours, pastels and some sculptures. In 1900, Pauline and Heinrich Hirschsprung decided to donate their art collection to the Danish state and they had a deed of gift drawn up, which was deposited with the Danish Ministry of Cultural Affairs. However, the donation was not made public two years later, in 1902, when the collection was once again exhibited at Charlottenborg. At the same event, the art historian Emil Hannover was put in charge of cataloging the collection, the exhibition at Charlottenborg also included renderings of the planned museum building, which had been designed by the architect Hermann Baagøe Storck. Under the terms of the deed of gift, the Danish state and the City of Copenhagen, on their side, were required to make a site and a building available for its exhibition. This scheme was similar to the one which had agreed upon in connection with Carl Jacobsens foundation of the Ny Carlsberg Glyptotek. Still Hirschsprungs demand for an independent building gave rise to a debate on arts politics which went on for several years. A number of individuals also promised to donate works to the collection once it passed into public ownership while others were purchased by Hirschsprung conditional on the same event. In less than a year, Hirschsprung managed to collect the majority of the 180 sculptures included in the 1902 catalogue. The collection represents 20 Danish sculptors,1907 finally saw a successful conclusion to negotiations and a start could be made on building Storcks project from 1902. The site which was chosen was in Østre Anlæg, a park which had been laid out on the grounds of the citys former fortifications. Heinrich Hirschsprung died the year, in 1908, and thus never saw his museum materialize
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Kunstforeningen
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Kunstforeningen, now officially called Gammel Strand after its address, is an exhibition space and non-profit membership organization located at Gammel Strand in Copenhagen, Denmark. It was founded in 1825 to promote and support art through exhibitions, lectures, acquisitions of art works for distribution among the members, support of artists. Kunstforeningen was founded as a society in 1825 by a circle of the most influential figures of the Danish art world during the Danish Golden Age. In 1827 it became a more well-defined and active organization but by 1829 still had only 71 members, the purpose was to broaden the knowledge of art and to bridge the gap between the elite and a wider public. From the beginning, it aimed to influence and not just support the Danish scene. This was achieved by commissioning artworks, rather than just buying finished works, after opposition among members in 1835, this activist practice was toned down in 1835 and more focus was directed at the acquisition and redistribution among members. The society also funded various public artworks, the first public art exhibition was held in 1828 and featured 117 paintings by Jens Juel. In 1835 the society had grown to 1,100 and in the early 1860s it had reached 1,700 members, weekly sessions were held at Hotel Du Nord, then from 1826 at the Freemasons Hall, while the exhibitions were held at the City Hall. Later the societys activities relocated several times before finding their current base at Gammel Strand in 1952. Ever since, the focus has increasingly been on art exhibitions, on 26 September 2010 the building reopened after a major renovation. Kunstforeningens building at Gammel Strand is a house from 1750. It was designed by Philip de Lange, Kunstforeningen hosts five exhibitions every year. The emphasis is on Danish and international contemporary art, one of the annual exhibitions is of works by the years graduates from the Royal Danish Academy of Fine Arts. The building has an entrance at the rear, at Læderstræde 15. Danish Golden Age Official website Kunstforeningen at arkitekturbilleder. dk
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Louisiana Museum of Modern Art
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The Louisiana Museum of Modern Art is an art museum located directly on the shore of the Øresund Sound in Humlebæk,35 km north of Copenhagen, Denmark. The museum is also acknowledged as a milestone in modern Danish architecture, noted for the synthesis it creates of art, architecture, the museum has at occasions also exhibitions with works of the great impressionists and expressionists, like the large Claude Monet impressionist exhibition in 1994. The museum is included in the Patricia Schultz book 1,000 Places to See Before You Die, the name of the museum derives from the first owner of the property, Alexander Brun, who named the villa after his three wives, all named Louise. The museum was created in 1958 by Knud W. Jensen and he contacted architects Vilhelm Wohlert and Jørgen Bo who spent a few months walking around the property before deciding how a new construction would best fit into the landscape. This study resulted in the first version of the museum consisting of three connected by glass corridors. Since then it has been extended several times until it reached its present circular shape in 1991, in late November 2012 Louisiana Museum of Modern Art launched Louisiana Channel, a web-TV channel contributing to the continual development of the museum as a cultural platform. In 2013 the music department of the museum launch Louisiana Music, the videos are often housed in room settings where the viewer is made to feel part of the scene being portrayed. Perched above the sea, there is a garden between the museums two wings with works by artists including Henry Moore, Alexander Calder, and Jean Arp. Besides the collection of art, Louisiana also displays a collection of Pre-Columbian art. Consisting of more than 400 objects, the collection was a donation from the Wessel-Bagge Foundation in 2001 and it is the personal collection left by Niels-Wessel Bagge, who was a Danish dancer, choreographer and art collector living in California and who died in 1990. The Concert Hall was built in 1976 in connection with the West Wing which had built in 1966 and 1971. Its acoustics make it fit for chamber music but it is also used for other musical genres as well as a wide array of others events and activities such as debates, lectures. The chairs are designed by Poul Kjærholm and the wall is decorated with paintings created for the site by Sam Francis. In 2007 began a project to produce concerts filming and musical clips directed by Stéphan Aubé, all the movies are available for free on the Louisiana Music website. The grounds around the museum contain a sculpture garden. It is made up by a plateau and the sloping terrain towards Øresund and is dominated by huge, ancient specimen trees and sweeping vistas of the sea. It contains works by artists as Jean Arp, Max Ernst, Max Bill, Alexander Calder, Henri Laurens, Louise Bourgeois, Joan Miró. The sculptures are placed so that they can be viewed from within, in special sculpture yards or independently around the gardens, forming a synthesis with the lawns, the trees
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Nivaagaard
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Nivaagaard is a historic property in Nivå in the northern outskirts of Copenhagen, Denmark. It is now home to an art gallery and the park is open to the public, the estate was founded in 1767 by Adam von Lüttichau when he purchased Nivaa Havnegård from the Crown. The property was from the associated with the Galley Harbour at Nivaa which was planned in 1753. The name Nivaagaard was introduced in 1793, the estate was acquired by Alfred Hage in 1862. The main building was damaged in a fire in 1873. The architect Ferdinand Vilhelm Jensen designed a new house which was completed in 1881, Nivaagaard was a dominating factor in Nivaas development over the next decades. The first brickyard on the estate was established by Queen Louise in 1701, by 1720 it produced brick for the royal buildings in Copenhagen and the northern part of Zealand. These activities increased and were modernized in the 1840s, in 1857 the brickyard was one of the first in Denmark to introduce a steam engine in the production chain. In 1870, eight years after Alfred Hage had acquired the estate, the oven remained in use for 97 years up until 1967. The brickyard closed in 1980 and then re-opened as a museum, the ring oven, which is now listed, is the earliest of Hoffmanns designs which still exist today. The art collection was founded by Johannes Hage between 1895 and 1905 and it covered European Renaissance and Baroque painting and Danish Golden Age art. A small museum building in temple style designed by Johan Schrøder was built near the house in 1903. On 30 September 1908 Hage turned his collection into an institution which made it available to the public. He chaired the board until his death in 1923, the management of the museum was professionalized in 1981 and it arranged its first special exhibition in 1983. In 1988 the museum building was expanded with support from the Velux Foundation, the new wing was designed by royal building inspector David Bretton-Meyer. The European collection contains works by Giovanni Bellini, Claude Lorrain, the Danish collection contains works by some of the leading artists of the Danish Golden Age, including C. W. Eckersberg, Christen Købke, Johan Lundbye, Wilhelm Marstrand, Martinus Rørbye and P. C. The original park was designed by Edvard Glæsel and laid out in 1901–02, a large rhododendron garden was established in 2007. Official website Calendar, events and exhibitions at Nivaagaard
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Ny Carlsberg Glyptotek
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The Ny Carlsberg Glyptotek is an art museum in Copenhagen, Denmark. The collection is built around the collection of Carl Jacobsen. However, the museum is noted for its collection of painting that includes an extensive collection of French impressionists and Post-impressionists as well as Danish Golden Age paintings. The museums collection includes all the sculptures of Degas, including the series of dancers. Numerous works by Norwegian-Danish sculptor Stephan Sinding are featured prominently in various sections of the museum, Carl Jacobsen was a dedicated art collector. He was particularly interested in art, but over the years he also acquired a considerable collection of French. When his private villa in 1882 was extended with a winter garden, the same year the collection was opened to the public. In the following years the museum was expanded on a number of occasions to meet the need for space for his steadily growing collections. In spite of the extensions, it was finally clear the existing premises were inadequate. On 8 March 1888 Carl Jacobsen donated his collection to the Danish State, Jacobsen was displeased with the location which he found to be too far from the city centre and he had also reservations about the proximity of Tivoli which he found common. Instead he wanted a building on the new city hall square. It was Carl Jacobsen who chose the name for the museum, with inspiration from Ludwig Is Glyptothek in Munich, the moat around the radan was filled and the new museum opened first on 1 May 1897. At first it only included Jacobsens modern collection with French and Danish works from the 18th century, in January 1899 Carl Jacobsen donated his collection of Antique art to the museum which made an expansion necessary. It was designed by Hack Kampmann while Dahlerup designed a garden which connected the new wing to the old building. In 1996 the museum was again extended, this time with an infill constructed in one of its courtyards to the design of Henning Larsen. In 2006, the building underwent a major renovation programme under the direction of Danish architects Dissing + Weitling. the building is often noted for its elegance in its own right and the synthesis it creates with the works of art. The Dahlerup Wing, the oldest part of the museum, is a lavish historicist building, the façade is in red brick with polished granite columns in a Venetian renaissance style. It houses the French and Danish collections, the Kampmann Wing is a more simple, neo-classical building, built as a series of galleries around a central auditorium used for lectures, small concerts, symposiums and poetry readings
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Ordrupgaard
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Ordrupgaard is a state-owned art museum situated near Jægersborg Dyrehave, north of Copenhagen, Denmark. The museum houses one of Northern Europe’s most considerable collections of Danish and French art from the 19th, Ordrupgaard was founded 1916–1918 by former Hafnia managing director, titular Councillor of State Wilhelm Hansen and his wife Henny Hansen. Wilhelm Hansen established his collection of Danish art covering the 19th to the beginning of the 20th century during the period of 1892 to 1916. The Danish Golden Age is comprehensively represented by works by, amongst others, Christoffer Wilhelm Eckersberg, Christen Købke, Johan Thomas Lundbye, during World War I, Wilhelm Hansen focused his interest on French art. From 1916 to 1918 he purchased French paintings, pastels, drawings and sculptures and it was Wilhelm Hansen’s great wish to acquaint the Danes with French 19th-century art. His first purchases were paintings by Alfred Sisley, Camille Pissarro, Claude Monet, Wilhelm Hansen’s main focus was on French Impressionism. In order, however, to put Impressionism into perspective, his collection also comprised the genres immediately preceding and following, thus, Ordrupgaard is able to show Eugène Delacroix, representing Romanticism, Théodore Rousseau, Gustave Courbet, Édouard Manet, and Paul Gauguin. When purchasing French art, Wilhelm Hansen often took advice from the French art critic Théodore Duret, parallel to Wilhelm Hansen’s interest in Danish and French art was his interest for furniture and handicrafts. He was especially interested in ceramics, chandeliers and furniture executed by Thorvald Bindesbøll and this consortium, founded in 1918 by Wilhelm Hansen together with the collector Herman Heilbuth and art dealers Winkel & Magnussen, was of great importance to the French purchases. Their declared goal was Buying and selling works of art with the purpose of bringing good, for this reason they bought several collections en bloc in Paris. Wilhelm and Henny Hansen bought a piece of land by Ordrup Krat, near Jægersborg Dyrehave, north of Copenhagen. Between 1916 and 1918 they built their stately home Ordrupgaard, designed by architect Gotfred Tvede, at the same time an extensive park was laid out by landscape gardener Valdemar Fabricius Hansen. Ordrupgaard was inaugurated on 14 September 1918, in his opening speech Wilhelm Hansen declared that the collection would be left to the Danish State. Ordrupgaard was originally built as a three-winged trellised country mansion in the neo-classical style, the gallery which houses the French collection is connected to the main building by a small conservatory. Additionally a porter’s lodge, a residence and a coach house were erected. A shed and a small half-timbered summerhouse comprise the rest of the buildings on the estate. The Park at Ordrupgaard is laid out in the English style with a smaller French-inspired rose garden, the Park at Ordrupgaard originally functioned as a kitchen garden as well as a flower garden. The extensive produce and the fruit trees sustained the family with fresh fruit and vegetables throughout the year while the rest of the grounds were used for leisure
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Vestindisk Pakhus
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Vestindisk Pakhus, located on Tolbodgade on the waterfront between Amalienborg Palace and Langelinie, is a former 18th-century warehouse in Copenhagen, Denmark. It was designed by Caspar Frederik Harsdorff and built from 1780 to 1781 for the Danish West India Company, today it houses the Royal Cast Collection, part of the Danish National Gallery, and a display of costumes from the Royal Danish Theatre. The Kings Room is located on the floor of the warehouse and is the former meeting room of the trade commission which managed the West India Company. The wallpaper depicts guava leaves and fruits which were imported from the West Indies, the room also contain a set of 12 original chairs, believed to have been designed by Harsdorff for the room. The name of the room originates from a story which has it that on 2 April 1801 King Frederick VI followed the Battle of Copenhagen from the room, however, no documentation exists and it would have been impossible to see anything but smoke from the position. The upper floors display costumes from the Royal Danish Theatre, admission to the building is free
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Rudolph Tegner Museum
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Rudolph Tegner acquired the central portion of the area in 1916. He initially mounted the group sculpture King Oedipus and Antigone and later, in 1924, followed the group sculpture The Enigma of Lone, the museum building was built to Tegners own design with the assistance of the architect Mogens Lassen. Construction began in 1937 and it was inaugurated in 1938, a renovation was completed in 2003. The museum is built in concrete to an unusual bunker-like Modernist design, the building needed large dimensions to embrace Tegners works many of which are of very large proportions. The core of the museum is a large gallery with ceilings 11 metres high. The original intention was to build lower galleries on all of its sides, the museum has been built without picture windows to avoid distracting the visitor with views of the scenic surroundings. Except for a window in the gable, all natural light comes from skylights. Concrete as a material was chosen for reasons of fire safety, the difference in scale between the entrance section and the main gallery is designed to create an overwhelming experience for those entering the museum and to enhance its character of a treasury. The facade bears reference to Antique architecture, the museum exhibits some 250 of Tegners sculptures as well as models in plaster, clay, bronze and marble. It consists of undulating heath with scattered trees and juniper vegetation
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Thorvaldsen Museum
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The Thorvaldsen Museum is a single-artist museum in Copenhagen, Denmark, dedicated to the art of Danish neoclassicistic sculptor Bertel Thorvaldsen, who lived and worked in Rome for most of his life. The museum is located on the island of Slotsholmen in central Copenhagen next to Christiansborg Palace. Designed by Michael Gottlieb Bindesbøll, the building was constructed from 1838-48 following a collection of funds in 1837. The building is inspired by antique Greek architecture and built around an inner courtyard where the artist is buried. The courtyard is particularlarly notable being painted in Eqyptian motifs, tall palms, lions and crocodile prowl among exotic birds. It is particularly noteworthy for its use of colors both inside and outside. Every room in the museum has a unique ceiling decoration in the grotesque style, the outside is adorned with a frieze depicting Thorvaldsens homecoming from Rome in 1838 made by Jørgen Sonne
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Copenhagen Amber Museum
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Copenhagen Amber Museum is a museum on Kongens Nytorv in central Copenhagen, Denmark. It is owned by House of Amber, Copenhagen Amber Museum is one of the most recognised amber museums in the world. The museum is located in the Kanneworff House, a listed townhouse dating back to 1606, the museum holds an extensive collection of amber antiques and artifacts, including a wide array of entombed insects from prehistoric times. The collection comprises the largest piece of amber in the world, the piece became enlisted in Guinness World of Records on 1 June 2015 and weighs 104.72 pounds. It was found in the Dharmasraya region in West Sumatra in 2014 and is around 15-25 million years old, the museum is located in one of Copenhagen’s oldest and most charming houses. It is placed at the beautiful square Kongens Nytorv right at the entrance of Nyhavn, kanneworffs House was built in 1606, even before Kongens Nytorv was founded and the channel of Nyhavn was dug. At that time the population of Copenhagen was only 12,000 people and its current appearance is largely due to an adaptation in the 1780s which added an extra floor and the Mansard roof. The building consists of three bays on Bredgade, four bays on Kongens Nytorv and two bays on Store Strandstræde, another adaptation in 1904 moved the entrance to Bredgade. Through the years the house has been inhabited by all kinds of people from barbers, tobacco spinners, carpenters, grocers, in 1836 wool and cloth grocer Lars Kanneworff bought the house and during the next century it housed one of Copenhagen’s most exclusive and modern tailor establishments. At the museum one can learn about how amber was formed more than 30 million years ago, in the exhibition stands one can see different types of amber from all over the world and see how the amber is used. One will also have the opportunity to get an insight into the significance of amber at different stages throughout history, the fishermans collection, Denmark’s biggest amber find in modern times can be found in the Copenhagen Amber Museum. In June 2010, a Danish fisherman caught one of Denmark’s largest pieces of amber ever found and he caught the piece in his net on a fishing trip far out to sea. He found it hard to believe his own eyes when he pulled in his net that June morning, the amber rock weighed 4,125 gr. and was the largest piece of amber found in Denmark since 1767. One of the attractions of the museum is the collection of more than 100 pieces of amber with inclusions of insects and plants. Magnifying glasses, enables the visitor to observe the more than 30 million year-old insects and plants closely, Copenhagen Amber Museum also presents its visitors to the worlds largest piece of amber, which weighs 47.5 kg. House of Amber House of Amber Source
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Amalienborg
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For its Antillian namesake, see Charlotte Amalie, U. S. Virgin Islands Amalienborg is the home of the Danish royal family, and is located in Copenhagen, Denmark. Amalienborg was originally built for four families, however, when Christiansborg Palace burned on 26 February 1794. 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, other parts of the land were used for Rosenborg Castle, Nyboder, and the new Eastern fortified wall around the old city. Work on the began in 1664, and the castle was built 1669-1673. The King died in 1670, and the Queen Dowager lived there until her death on 20 February 1685, the presentation was a great success, and it was repeated a few days later on 19 April. However, immediately after the start of the performance a stage decoration caught fire, causing the theatre and the palace to burn to the ground. The King planned to rebuild the palace, whose church, Royal Household, 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 and his drawing and model were completed in 1697. The King, however, found the plans too ambitious, and instead began tearing down the buildings that same year. 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, and arcades on both side of the pavilion. On one side of the buildings was a French-style garden, the pavilion had a dining room on the groundfloor. On the upper floor was a salon with an out to the harbour, the garden. This development is thought to have been the brainchild of Danish Ambassador Plenipotentiary in Paris. 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 and these mansions form the modern palace of Amalienborg, albeit much modified over the years. The noblemen who owned them were willing to part with their mansions for promotion and money, and the Moltke and Schack Palaces were acquired in the course of a few days. A colonnade, designed by royal architect Caspar Frederik Harsdorff, was added 1794-1795 to connect the recently occupied King’s palace, Moltke Palace, with that of the Crown Prince, Schack’s Palace
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Bakkehuset
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Bakkehuset is a historic house museum on Rahbeks Allé in the Frederiksberg district of Copenhagen, Denmark. Dating from the 1520s, it has served a number of functions over the years, including as a farmhouse, inn, private home, psychiatric hospital and orphanage. It is particularly associated with the Danish Golden Age when it was owned by Knud Lyne Rahbek and his wife, Kamma Rahbek, Bakkehuset can be traced back to the 1520s. Strategically located on the road from Copenhagen to Roskilde, it long served as an inn. When Claus Wendorff died in 1649, his widow tried to get an extension of the license to operate the inn. A new owner, captain Claus Wendorff, obtained a new license in 1755, former prime minister Count Johan Ludvig Holstein acquired the property in 1756. The land was situated close to Frederiksberg Palace and his intention was to build a new country house at the site. Instead the property was taken over by his master, Johan Christian Conradi. When Conradi went bankrupt in 1777 the estate again changed owners. Knud Lyne Rahbek was a permanent guest from 1787 until 1802 when he acquired the property, after the Rahbeks took over Bakkehuset, it quickly became a popular social venue for the citys literary and intellectual establishment. The maintenance of a social life was expensive and neither Rahbek. They rented out rooms to supplement their incomes, and Kamma managed to make the most out of their meagre means, later the house has served as a summer residence for people such as Johan Ludvig Heiberg, Johanne Luise Heiberg and N. F. S. Grundtvig. The Bakkehuset estate included 3.5 hectares of land, Kamma enthustically, almost scientifically, established a garden with a small pond, lawns, flowers and many rare plants on the premises. It was one of the first private English style gardens to be out in Denmark. One of the three wings was allowed to fall into despair and was ultimately demolished. For a while the building was used as a hospital before it moved to Ebberødgård outside Birkerød. The museum at Bakkehuset opened in 1925, the museum consists of a series of memorial rooms dedicated to some of the notabilities who have lived in the building over the years. The building is located next to the Carlsberg area, the industrial site of the Carlsberg Breweries
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Brede House
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Brede House is a late 18th-century country house in Kongens Lyngby north of Copenhagen, Denmark. Originally built for the owner of the adjacent Brede Works, it is now owned by the National Museum of Denmark, Brede House was built for Peter van Hemert, the owner of Brede Works. It is believed that the architect was Andreas Kirkerup while Interior Designer to the Danish Court, joseph Christian Lillie was entrusted with interior designs and probably also furnishing the house. Peter van Hemert went bankrupt in 1805 and both his house and industrial plant were sold by auction, the National Museum acquired the house in 1959 and put it through a comprehensive restoration which was not completed until 1974. The Neoclassical house now serves as a house museum which showcases a typical upper-class home of the 1790s. The house is now furnished with period furniture based on the detailed inventory lists which were prepared for each room in connection with the 1805 auction. The park at Brede House is situated to the rear of the building, with Brede Works to the right and a terraced slope with fruit trees to the left as seen from the main building. It was laid out in the English romantic style in connection with the construction of the house, the pavilion in Chinese style which is today seen in the garden is not native to the site but gifted to the National Museum in 1971. It may originally have stood in Frédéric de Conincks romantic garden at Dronninggård and it is likely that it was designed by Kirkerup since he is the architect behind several other pavilions in Chinese style from the time, including the one in Frederiksberg Gardens. A vegetable garden and nursery used to supply the household with fresh produce, a vegetable garden with original crops is still maintained at the far end of the park. It is situated next to the house and a small cluster of outbuildings and glasshouses, including the Grape House, the Tomato House, the Apple Celler, the Orangery
Media related to Rosenborg Castle at Wikimedia Commons
