My first pilgrimage to Italy was influenced mainly by my desire to see these ancient art forms in person, to be able to look into their eyes and, in some cases, even touch their cold marble flesh. But throughout all my time researching and studying sculpture, a name I never came across was “Thorvaldsen.” It wasn’t until I stumbled upon the Thorvaldsen Museum‘s steps in Copenhagen that I knew how deep my love for the craft of sculpture could go. 

The Thorvaldsen Museum is unique because it houses works from one single artist, that of Bertel Thorvaldsen. The art displayed in the museum spans Thorvaldsen’s entire career. It even contains commissioned pieces the museum had to fight to bring home their collection. The museum is a lovingly curated experience and takes you on an intimate journey throughout Thorvaldsen’s life through moments frozen in marble.

Admission & Hours

The museum is open Tuesday-Sunday from 10 am to 5 pm & Thursdays from 10 am to 9 pm. It is closed on Mondays and Dec 24, 25, 31 and Jan 1.
Admission to the museum is 90DKK ($14 USD) for adults, and youth and children under 18 are free. The museum is also free to enter on Wednesdays.

Locations & Directions

The museum is located in the centre of the city. It is relatively easy to get to on foot, but if you need to take the metro, just get off at the stop ‘Gammel Strand,’ across the river from the museum.

About Thorvaldsen

Bertel Thorvaldsen was born in Copenhagen. From the moment he could pick up a piece of stone, he seemed to find an affinity with the material and used it as his canvas. His father was a woodcarver, and from watching him at work, Thorvaldsen developed a great sense of how to work with his hands. From the age of eleven, Thorvaldsen was making waves as a child prodigy. He was admitted into the Royal Danish Academy of Art. 

Working in Rome

After winning several academic awards and receiving mass recognition in Denmark, Thorvaldsen was offered a space to study with some of Rome’s best artists. It was in Rome that the young sculptor quickly found notoriety and fame. He arrived in Rome on March 8th, 1797. Because Thorvaldsen grew up relatively poor, and his birth date was never recorded, he used this date, his “Roman birthday,” as the one he would celebrate for the rest of his life.

Thorvaldsen loved Rome, as everywhere he seemed to look, he was surrounded by the great masters of sculpture’s lessons. He lived at the Via Sistina in front of the Spanish Steps. He had his workshop in the stables of the Palazzo Barberini. His very first commission was a model of the Greek mythological hero Jason. The work was so impressive it drew the eye of Antonio Canova, the most famous sculptor in the city. With this mark of approval from his peers, the commissions began to come in in a fury, and he was able to stay in Rome for over 16 years, working on his remarkable oeuvre.

Love Life

Thorvaldsen was quite the lover, and perhaps his sensual nature can be seen in his art. His first wife, and mother of his daughter, was previously married to another man. Soon after meeting, Thorvaldsen stole her away from her previous husband with his winning charm. When Thorvaldsen fell ill in 1818, he fell madly in love with his nurse. Still, he called off that engagement when he became enamoured with yet another woman, Miss Fanny Caspers. In the end, he was unable to leave the mother of his child but continued to dabble in affairs of the heart his whole life.

Creation of the Museum

After a long career working for the nobility in Rome, he retired in his hometown of Copenhagen. After attending a performance at the Copenhagen Royal Theatre, Thorvaldsen suffered a massive heart attacked and died. In his will, he had bequeathed a significant part of his fortune for the creations of a museum in Copenhagen. Thorvaldsen left detailed instructions to fill it with all his works of art, his models and even his collection of books and drawings. Thorvaldsen’s tomb rests eternally amongst his masterpieces, buried in the centre of the museum’s courtyard. 

Themes

Canova wasn’t just a fan of Thorvaldsen; he significantly influenced the artist’s style. Thorvaldsen was a neoclassicist. While Canova’s neoclassicism had more expressive poses, Thorvaldsen stuck to a more traditional approach. His neoclassical sculptures were inspired by the Greeks. The poses and motifs are drawn from Greek mythology as well as classical art and literature. Neoclassicism came as a revolt against the Rococo style, which was popular at the time. While the Rococo embraced ornamentation and asymmetry, neoclassicism focused on homogeneity and balance.

Architecture

The hallways and rooms which houses the various works of art are stunningly decorated. The architect who designed the building was Michael Gottlieb Bindes­bøll. Bindes­bøll was inspired by the patterns and colours of ancient cities like Pompeii and Herculaneum. He used these references to create the interiors of the museum.

Bindes­bøll visited Thorvaldsen at his studio in Rome multiple times. The architect was inspired by the high, diagonal light which flooded into the artist’s studio. When creating the windows in the museum, he wanted to replicate this same effect. This bright sunshine that floods the museum changes the light and shadows that fall on the sculptures. Sculptures are so dimensional, and the way they are lit is so unique compared to matte paintings. Depending on what time you visit the museum, the light will change your viewing of each piece.

Interior Design

The first room you come across seems larger than life. The sculptures housed inside the tower over the viewer and fill the almost impossibly large room. The beautiful red, black and yellow tiled floor evoked that same neoclassical style presented in his sculptures. The walls are painted a deep maroon, which contrasts fantastically against the light marble sculptures along the walls.

Throughout the rest of the museum, brightly coloured walls frame and contrast the white marble perfectly. The ceilings are decorated with richly detailed reliefs, and even the floors are inlaid with intricate mosaics.

Józef Poniatowski

In one of the first rooms, you’ll visit, walk to find the dominant sculpture of Józef Poniatowski, made in 1827. Józef Poniatowski was a Polish freedom fighter who fought for Poland’s independence against Russia. During the Battle of Leipzig in 1813, Poniatowski was wounded. When he saw his enemies coming to capture him, he swam off into the water. Poniatowski knew he wasn’t a strong swimmer and would have rather drowned rather than be captured. His martyr-like efforts captured the hearts of the Polish population, and the statue of the great man was commissioned. They could think of no better man than Thorvaldsen to complete the job. 

Thorvaldsen wanted to portray the great warrior like the ancient statue of Marcus Aurelius, which sits in the capitol in Rome. Just like Aurelius, Poniatowski sits on his colossal warrior horse. Instead of having his hand in a gesture of “adlocutio” used to address the troops, he holds out a pointed sword, in a more aggressive pose than Aurelius. Similar to the Roman statue, Poniatowski sits on the horse with no use of stirrups. Although this was done on the original figure because they had not yet been invented, on Poniatowski’s statue, the lack of stirrups makes the man seem more powerful. It implies he doesn’t even need them to stand sturdily on his great horse.

Pius VII

Sitting on a large throne, surrounded on either side by two beautiful women, is Pope Pius VII. This incredible piece was perhaps Thorvaldsen’s most outstanding achievement, as it was commissioned for St. Peter’s Basilica in 1831. Thorvaldsen is still, to this day, the only non-catholic artist to have his work featured in the great Cathedral. While Thorvaldsen might not have been a catholic, he held great reverence for the Pope and the church. Thorvaldsen even had the chance to meet Pope Pius VII in person while he worked in Rome. The details set into the gentle Pope’s face here are very notable, proof of the artist’s personal relationship with the subject.

The Virtues

The women on either side of the Pope, dressed in classical flowing drapery, represented the allegorical virtues of Divine Power and Divine Wisdom. The Pope represents the human vessel into which god’s enlightenment is conveyed to the people. Still, this mortal body will age and die. Contrastingly, the two virtues represent the eternal nature of religion. The woman who represents divine wisdom holds her head down, looking intently at the Bible in her hands. The woman representing divine power can be seen looking up towards the sky and heaven above. Her face is much softer, and her hands clutch her chest as if in a moment of ecstasy.

Because Thorvaldsen was not a catholic, he was not allowed to sign his sculpture. Despite this, he couldn’t refuse an opportunity to have his work featured in the Vatican. But Thorvaldsen came up with the idea to sculpture his own faces into the Pope’s shoulder. In this way, he still managed to memorialize himself into the work.

Cupid & Psyche

Just down the hall from the large entrance are a series of smaller rooms containing various Thorvaldsen collection pieces. Most of the rooms are centred around a particular theme or character. One of my favourite of these pieces is the sculpture of Cupid and Psyche from 1891. The couple is wrapped up in a loving embrace. Where their shoulders meet, the two parts of marble almost looks like it is melting together. As if Cupid and Psyche are becoming one person, one whole piece. 

The Myth

The myth of Cupid and Psyche is one of the most touching of the ancient stories. Psyche was the third daughter, born to a mortal woman. As she grew, she became known as one of the most beautiful people on earth. Her loveliness seemed to rival that of even the god’s people would say. Venus, who held the title of goddess of beauty, was enraged at hearing this. She demanded that Cupid shoot Psyche with one of his love arrows and cause her to fall in love with a hideous monster.

Cupid obeyed, but when he went down to perform the task, he mistakenly pricked himself on the hand fell in love with Psyche himself. Knowing Venus would be furious with him if she found out, Cupid put Psyche on an island where he secretly visited her each night. He would kiss her under the veil of darkness, and when she asked to see his face, Cupid told Psyche never to look upon his face.

The Discovery

Psyche was badgered by her jealous sisters into discovering who this mystery lover was. They claimed he must have been a monster to hide his face from her. So one night after Cupid fell asleep, Psyche picked up a lamp to gaze down upon the man who lay with her. He was beautiful, and she was stunned. In her frozen state of awe, a drop of hot oil accidentally fell from the lamp and woke Cupid up.

Cupid was furious that she had disobeyed his orders, so he fled in the hopes that Venus wouldn’t find out. Psyche was heartbroken and angry with herself that she had been so foolish. She walked the earth endlessly, searching for Cupid. Until one day, she ran into Venus. Pleading her case to the goddess, Venus told Psyche if she accomplished a series of challenging tasks, she would bring her back to Cupid. But these tasks were impossible and caused Psyche much pain and suffering, but she never gave up. Cupid, watching her misery from above, pleads her case to the gods. Psyche was granted immortality by the gods, and Cupid and Psyche were married in heaven.

Relief Carvings

On the walls of this room are additional relief carvings of the life of Cupid. They present the moment of his birth by his mother Venus to his youth with his father, Mercury, the winged messenger of the gods. It even details more scenes from the love story of Cupid and Psyche.

Maria Fjodorovna Barjatinskaja and Elizabeth Alexey Tarakanova

Down the hall, you’ll find a small room dedicated to Maria Fjodorovna Barjatinskaja and Elizabeth Alexey Tarakanova. Maria Fjodorovna Barjatinskaja was a Russian princess who visited Rome with her husband in 1818. While in Rome, Thorvaldsen was very taken with the princess and asked her to model for him. A copy of the sculpture Thorvaldsen made was sent to St. Petersburg after the princess’s death.

Princess Tarakanova, on the other hand, was a pretender to the Russian throne. But Thorvaldsen found himself just as enamoured with her. Both of these sculptures represent Thorvaldsen’s skill in capturing a moment of thoughtfulness. You can almost see these women as learned people who consider the world around them instead of just arm candy for their husbands. Their portraits have great dignity while also being wonderfully sensual and languid. Thorvaldsen was a great admirer of both these beautiful women, and his affinity for them can be seen in the work.

Cupid and the Graces

In this incredibly sensual group, we see the Three Graces. They stand in an almost lovers’ embrace, their hands encircling each other. Their fingers gently caressing each other’s bodies, so delicately, their fingertips seem to just graze the skin. The Graces are the daughters of Jupiter but are servants of the goddess of love, Venus. Below their feet sits Venus’ son Cupid, playing the lyre. The three women’s position seems to form a protective circle around the child, ensuring he is safe from harm while he plays.

The three graces represent “beauty, love and modesty.” Beauty and love can clearly be seen on display here, and modesty is represented by the swath of cloth, draped over the column behind the grouping. If someone should enter and come upon them, they could quickly cover up with this cloth. And yet here we are, gazing upon them as if unseen by any of the women. And yet Cupid stares directly at us as if he was catching us in the act.

Venus with the Apple

This sculpture captures the moment Venus received the golden apple from the mortal King Paris, which crowned her “the fairest goddess” of them all. Eris, the god of strife, created this golden apple and inscribed it with the pronouncement “the fairest goddess.” During a party on Mount Olympus, Eris asked the gods to vote on who should receive the apple. None of them could decide, so the gods asked King Paris to choose between Juno, Minerva and Venus herself. Paris was head over heels for Venus and immediately gave her the golden apple. In this scene, we can see Venus taking the apple, her hands raising the fruit towards her face to get a closer look. Her opposite arm reaches back to grab her clothes to cover her naked form. 

Her expression is a curious one. You would imagine that being named the fairest god would bring someone joy, but her appearance is reasonably demure. There is just the slightest hint of a grin beginning to form on the corners of her mouth. This expressive choice is a crucial characteristic of Thorvaldsen’s work. He can perfectly capture in marble even the briefest moment or fleeting glance. Venus wants to appear polite in front of the other women who have been scorned by Paris but allows herself this minature little celebration.

Jesus Christ

This sculpture of Jesus Christ is one of Thorvaldsen’s most famous pieces. It was so impressive that it was copied multiple times, and versions of the statue can be seen in various castles and churches around Denmark. Christ stands before us, the moment just after he has been resurrected has been captured in marble. He holds his hand towards the viewer, almost in a pose of gentle assurance. His feet and hands still bear the crucifixion’s painful marks, but his face is peaceful and unaffected by such wounds. His face is angled straight down. To meet his eyes, you must stand almost directly under the statue. But by doing so, you have this one-on-one moment with the great man. Unlike other figures that stare straight out and anyone can meet their eyes, this sculpture forces you to get up closer and personal. You are then rewarded by this intimate experience.

Ganymede with Jupiter’s Eagle

This sweet scene depicts the mortal Ganymede‘s, giving a bowl of water to a great eagle, the god Jupiter in disguise. The eagle’s enormous size is exemplified as it seems to practically mirror the size of Ganymede. Ganymede was described by Homer as “the most beautiful of mortals.” Zeus had fallen in love with his beauty and sent Jupiter down to earth in the form of an eagle to abduct him and bring him back to Olympus to serve as Zeus’ cupbearer.

But Ganymede was a gentle and kind soul, and even when he was approached by this gigantic fearsome bird, he simply knelt down and offered it some water. Ganymede is practically perfect. The smooth, unblemished marble in stark contrasts to the eagle’s rough, harsh feathers and sharp-pointed beak.

A few doors down, you’ll find another statue of Ganymede. This time presented by Thorvaldsen as an older young man. In this portrayal, Ganymede now lives on Olympus acting as Zeus’ cupbearer. He is caught in the act of pouring the precious nectar of the gods. His eyes are focused solely on the pour to ensure none of the costly liquid is lost or wasted. We cannot see anyone gathered to receive the drink, so we can imagine he is pouring it out for us in a brief moment of fantasy.

Jason with the Golden Fleece

The sculpture of Jason was the one that Canova saw in Rome and was overcome by. This Thorvaldsen’s break out work which made him a household name! But it was not just the beauty and craftsmanship of the sculpture that Canova was so drawn to. It was the message that was tied into the statue as well.

The story of Jason is also the story of democracy. Jason was the son of the Greek King Aison. When his father’s throne was stolen by his wicked uncle, Jason set out on a journey to find the Golden Fleece. It was a legend that anyone who obtained the Golden Fleece and brought it back to their home country would acquire great wealth and a fertile nation. 

Jason took an army with him to this far off land, fought in many battles, and overcame many obstacles to finally find the Golden Fleece. The moment Thorvaldsen captured here is as Jason is caught carrying the fleece back down to his ship. Jason will set off back to his homeland and rule as the rightful ruler. But not just because it is his birthright, but because he had proved himself worthy of the task and will bring prosperity to his people. This democratic ideal that human abilities are the proof of a sound ruler, not just your bloodline, was a sentiment washing over all of Europe during the 1800s when Thordvalsen sculpted this piece.

 Hebe

Before Ganymede’s was Zeus’ cupbearer, the goddess Hebe previously held the position. Hebe was the goddess of youth, and her job was to pour the drink of immortality, made from the nectar of ambrosia. This would be poured out to the gods to preserve their long life. In the one hand, Hebe holds the cherished pitcher and, in the other, the bowl from which the gods would drink. Her eyes are laser-focused upon the bowl. But this intense focus was going to be all for naught as her story is a sad one.

One day while serving the precious nectar, her dress became undone, and she accidentally exposed herself to the audience of gods on Mount Olympus. When she went to cover her naked form, she spilled some of the nectar out on the floor, a great sin. Apollo cast her out for her insolence, and this was when Ganymede was abducted to replace her.

Her dress is a classical design, the only part of the drapery, giving her a shape is the belted waist. The lines in which the dress forms almost take the shape of a marble column. Thorvaldsen created two versions of Hebe in this pose, one where her breasts are exposed as in the story and one where her form is fully covered like we caught the moment just before her fall from grace.

Cupid Triumphant

Cupid is another of one of Thorvaldsen’s favourite characters. Although Cupid might not be one of the physically strongest gods, he wields tremendous power. Thorvaldsen truly believed that love was one of the world’s strongest influences. Here we see Cupid, looking triumphantly at his arrow, which could subdue all the other gods despite being so small. Below Cupid are items from the rest of the gods’ pantheon. These tokens were left behind, perhaps to serve as a reminder of Cupid’s great superiority. You can make out the helmet of Mars, Jupiter’s thunderbolt, Hercules’ lion skin, and finally Apollo’s lyre.

Cupid’s eyes seem to focus on the arrow’s sharp tip. Cupid appears wrapped up in a moment of awe, that such a small thing could imbue such authority. Despite this moment of triumph, there is a tinge of sadness in his eyes as she realizes the weight of his powers, which will weigh on his shoulders for eternity. This sculpture is perhaps the best interpretation of the classic quote, “with great power comes great responsibility.”

Mars and Cupid

Another portrait of Cupid features his relationship with the God of War, Mars. Cupid is vastly dwarfed by the enormous figure of Mars, towering above him. Mars was Cupid’s father. This appears to be a classical scene of father and son bonding. Perhaps Mars is in the process of teaching Cupid about the responsibilities of being a god. Mars holds out his massive and sturdy hand towards Cupid. In it, Mars holds one of Cupid’s arrows, and Cupid looks up at the pointed tip with a quizzical appearance, his finger on his chin in contemplation.

Mars being the god of war, must have found himself to be at odds with his son, whose strengths lay in the polar opposite arena, that of love. This is a well-told part of life for many people who share juxtaposing passions with their parents. Yet, there is still hope for connection in this scene as their bodies seem to almost fuse together at the bottom of the sculpture where Mars’ leg meets Cupid’s shoulder. Proof that even polar opposite can still connect.

Goddess of Hope

One of my favourite pieces is this sculpture of the Goddess of Hope, Elpis. She is almost always depicted as a young woman, carrying flowers in her hands. The flower in her hand is a pomegranate flower, which symbolizes fertility and eternal life. Her body’s shape reflects Thorvaldsen’s love of antiquity and the very archaic and stiff poses that come out of that era. While her stoic face leaves much to be desired, the draping of her clothes is phenomenal. On her left leg, the fabric seems to cling to her body like a second skin. You can almost feel in your fingertips the delicateness of the cloth from just looking at how he carved the fabric atop her body.

Bertel Thorvaldsen with the Statue of Hope

One of the most essential pieces in the museum is the sculpture of Bertel Thorvaldsen himself. Seeing him in person is like being greeted by the man for whom this entire building is dedicated. He is leaning on a minature version of the previous statue, the Goddess of Hope. We catch him here, taking a break from his work, posing in front of his sculpture. But he clearly isn’t stopping for too long as his tools are still in his hand. His expression is rather stern, almost as if he is still concentrating on his work of art. It’s hard not to take notice of the lightly hung shirt he is wearing, which has casually fallen open, revealing his taut chest to the audience. Another suggestion of the pride that Throsvaldsen took in his appearance.

Mercury

With his iconic winged hat, this suspenseful and tense scene of Mercury, drawing his sword in anticipation of slaying Argus, is perfectly captured by Thorvaldsen. Argus was a terrifying many-eyed monster who had captured Jupiter’s lover Hera. Jupiter had sent Mercury to go and kill Argus and free his love. This might seem a puzzling choice at first, especially when we look at Mercury, as presented here. He doesn’t look the part of a strong, powerful fighter, able to defeat the great beast. No, Mercury was the god of trickery and thieves. Jupiter thought that instead of sending a mighty warrior, he would send Mercury, who would come up with a plot to fool the unbeatable beast. Being the cunning god he was, Mercury played his pipe for the beast and lulled him to sleep, closing all those watchful eyes. Once he was asleep, Mercury was able to draw his sword and put an end to the great monster.

Dying Lion

One of the most affecting statues in the gallery is that of the dying lion. The lion is splayed out on top of a shield with the fleur-de-lis symbol etched upon it. This sculpture was design to commemorate the six hundred Swiss Guards who died defending the Tuileries during the French Revolution. The lion almost seems to be in the morning atop this shield. Such a powerful, evocative human emotion is coming from the animal’s face. 

Thorvaldsen Library & Personal Art Collection

In addition to sculptures, the museum houses hundreds of sketches, drawings, and miniatures that Thorvaldsen used to prepare for his incredible sculptures. It’s fantastic to see the process in which he painstakingly would create to come up with his final sculpture.

On the second floor of the gallery, you’ll find hundreds of reference books that Thorvaldsen used to study to perfect his interpretation of the neo-classical sculptures.

I hope you enjoyed this tour of the Thorvaldsen museum, and if you’re never heard of him before, that you thoroughly enjoyed discovering his work as I did. Let me know in the comments if you’ve ever visited this museum before or what your favourite piece of art from the collection was.

Happy Travels, Adventurers

The post Ultimate Guide to the Treasured Thorvaldsen Museum of Sculptures in Copenhagen first appeared on The Creative Adventurer.

When I first came to Denmark, this castle was one of the top things on my list to do. Rick Steves‘, my personal travel guru, had a rave review of Frederiksborg and I knew, based on his opinion, I had to make the journey out there myself! The most unique aspect of the castle is perhaps its furnishings. Frederiksborg is decorated to look as if it is still inhabited. There are few barriers between you and the history and at times, when you’re alone in the room, you feel like you could just jump into bed (but don’t). As you move through the castle, you travel through time, room by room, by the changing decor.

Location

Frederiksborg Castle is located in the small town of Hillerød. If you want to make an entire day out of your trip to Frederiksbborg Castle, you should spend some time in the village of Hillerød. It is such a perfect, quaint little town. The Hillerød City & Graphic Museum is a great place to visit on your way out of town. It features a complete history oh Hillerod, games for children and a little letterpress museum. There is an amazing gallery featuring samples of advertisements that were used in town printed on that very letterpress. Large dioramas of what day-to-day activities would have looked like in Denmark in the 19th-century are also joyfully curated to bring this town’s history to life.

How to Get There

Assuming you’re coming to Frederiksborg from Copenhagen, you’ll just need to hop on the S-train. Take Line A from Copenhagen Station to Hillerød Station. The ride takes about 40 minutes and costs 92 DKK or $9 USD.

From Hillerød Station you can walk directly to the Palace. The walk takes just under 20 minutes and is a lovely little jaunt through the village. If the weather isn’t on your side, you can also take the local bus 301 (towards Ullerød) or bus 302 (towards Sophienlund). Get off at the stop “Frederiksborg Slot” or Frederiksborg Palace.

There is also a third option, which is the ferry! You can take the ferry right into the castle but I would recommend doing the ferry on your way back. The optimal way to experience the castle tour is from via the roadway which leads into the front entry, whereas the ferry would take you into via the back entrance.

Hours and Admission

Buy your tickets online or at the castle on the day you arrive. Unless you’re visiting during the absolute peak of the season, I wouldn’t worry about buying a ticket in advance as this castle is pretty quiet when compared to other popular attractions.

Accessibility

It’s important to note that the entryway into the castle is heavily cobbled. If you have a walking aid you should be ok with some assistance. But if you require handicapped access, there is a separate entrance available to the right of the main entrance. Press the button to call for assistance.

Elevators connect all floors of the museum for wheelchair access. The only rooms not available are the Palace Chapel and the Great Hall (which are not accessible to wheelchairs). If you think all the walking might be a little strenuous and you’d rather be comfortable, the museum has two wheelchairs, which can be borrowed from the ticket office. Authorized guides and assistance dogs are also welcome in the museum.

When to Arrive

I would recommend arriving right when the palace opens. There is so much to see here but arriving at opening also means you’ll find the least amount of people here. The early bird catches the worm, and when I came in the early morning I had almost the entire place to myself. It was magical. But one of the reasons I love this castle is because of its low levels of tourist traffic. That means that even if you get up late you’ll still find a rather open and uncrowded palace to explore.

Kaffebar

Since the only cafe on the castle property is located very far away from the main entrance, you’re best to stop for some breakfast or lunch on your way into town. My pick would be Kaffebar. This bohemian cafe is a great place to get your morning brew and enjoy a traditional Danish breakfast. Which, contrary to popular belief, does not contain danishes. Try their freshly baked rye bread with cheese, ham and sausage or one of their many rich pastries!

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History of Frederikzborg Castle

Purchased by Frederick II in 1560, Frederiksborg Castle was once simply a noble manor house owned by a wealthy landowner. At the time, Frederick II was the reigning sovereign of Denmark and Norway. He fell in love with the manor. Frederick was obsessed with obtaining it and eventually purchased it in exchange for a new royal title for the current owner. He named it Frederiksborg, which translated means literally to “Frederick’s Palace“. Frederick II made many additions to expand the house into an awe-inspiring castle. He wanted to build on the grandeur of the original structure but add his own artistic touches.

When his son, Christian IV, became king he was keen to transform the palace as well. These kings never seemed satisfied. Christian was born inside the walls of the palace. Therefore, it held a very important place in the heart of the new king. Christian IV was progressive. He loved the new style and designs of Dutch Renaissance architecture. Once he took power, he was excited to see the palace reflect the designs of his time. Flemish architect Hans van Steenwinckel the Elder was brought on to create Christian’s vision. It took over 10 years to be completed and the construction even outlived the original architect.

1800s Renovations

In the 1800s, renovations took place to install new fireplaces throughout the castle as the heating had been a huge issue for the comfort of those nobles inside. But it was this very act that would bring great destruction to the palace. One winter’s night, while in his study, the current king Frederick VII asked for a fire to be lit to keep him warm while he worked late into the night. Since the chimneys were still under construction, the smoke and heat could not be released and a fire broke out inside the castle.

The Great Fire

The lake was frozen over and staff couldn’t get enough water pumped to put out the fire. The fire spread rapidly throughout the castle and by morning almost the entire palace had been severely damaged or destroyed. Staff had worked throughout the night to save over 300 paintings and smaller historical items from the fire. You can still see these saved items on display today inside the castle.

After the fire, the royals stayed in another one of their residences while Frederiksborg castle was being rebuilt. But after a short period of time, the royals decided to abandon the reconstruction of Frederiksborg castle. It was too much of a financial drain on their coffers and since they had other large manor houses, it felt like an unnecessary expense.

Transformation into a Museum

In 1878, J. C. Jacobsen, the founder of Carlsberg Brewery, had the grand idea to turn the disused Palace, into a museum. Jacobsen was a passionate collector and loved his country. He thought it was a travesty to see this beautiful piece of history deteriorating in the countryside. He offered to pay for all its reconstruction and any further expenses! Today the palace is still run by the Carlsberg Foundation and it is thanks for him that can explore this wonderous piece of Danish architecture. 

The castle museum features 500 years of Danish history which has been woven throughout the walls of the palace. There are portraits, paintings of historic events, antique furniture and decorative arts dotting the entire palace, creating a timeline of Danish life. Seeing these pieces in-situ, rather than just clumped together in a modern gallery, makes history come alive! Many portraits along these walls are of some of the most famous Danes and Royals who helped shape the face of their country and even lived within the walls of the castle.

Castle Lake

When you first approach the castle, you’ll spot the large lake which surrounds it. It creates a reflective frame around the beautiful red-bricked building. This lake is appropriately called “Castle Lake” and was built in 1560. It served both as a leisure area for the King and his court but also as a moat to keep the castle protected. While Denmark hasn’t seen war in many years, during the time of the castle’s construction, Denmark had frequent battles with other Scandinavian nations, so protection was very important. Today, the area around the lake is accessible to everyone from Hillerød and acts as a public park for the townspeople.

Town Gate

The first thing you’ll see when you arrive at the entrance to the castle is a small bridge in front of a stone archway called the Town Gate. In the centre of the stone archway is a statue of a great lion. He represents one of the three lions which serve as a symbol of Denmark.

Staldgaden

After passing under the gate, you’ll walk down a narrow street towards the castle. The name of this small street is called Staldgaden which translates to housing street as this was where all the servants to the king’s court lived. Walking down this narrow cobblestone pathway, you can see on either side of you two, single-storey buildings. These old complexes were the King’s Stables (to the west) and the Hussars’ Stables (to the east).

At the back of the stables are two matching towers, dubbed the Frederik II’s Round Towers. These were built in 1562 and bear the coat of arms of Frederick II. On the coat of arms is the motto Mein Hoffnung zu Gott allein which means “My hope to God alone“. 

The Gatehouse

As you reach the end of Staldgaden you’ll pass along the S-shaped bridge, over the castle lake, to bring you to the feet of the gatehouse. Christian VI’s Gatehouse was built in 1736. Standing guard, with its copper tiered roof, the Gatehouse is adorned with a huge sandstone relief of the Danish Coat of Arms. The Danish Coat of Arms is made up of three lions with their paws extended, surrounded by nine hearts. These hearts are also called “søblade“, and represent the love for the sea as the Danes were known for their seafaring explorations.

The Neptune Fountain

After you pass through the gatehouse you’ll emerge into the first courtyard. Standing in the center is the commanding Neptune Fountain. The fountain was made in honour of the naval forces in Denmark which were the leading army on the Baltic seas. At the very top of the fountain, we can see the great sea god Neptune. He stands with his hand outstretched, reaching out towards us. In Neptune’s other hand is his great Tritan, at the ready to defend Denmark.

Below him, on pedestals around the central column, are gorgeous rivers and spring deities. Surrounding the lowest level of the fountain are water nymphs. In their hands, they play seashell trumpets. Water spurts forth from these decorations to exalt their great leader, Neptune.

Dutchman Adrian de Vries

The original fountain was designed by Dutchman Adrian de Vries in 1617 but the one that stands here today is actually a replica. This is because the fountain, in its entirety, was stolen by the Swedes during the Swedish Wars. If you’ve ever visited the Royal Summer Palace in Drottningholm, Sweden, you’ll have seen the original fountain as it still stands there today. The current design was made in 1888, funded by Jacob Christian Jacobsen who felt his museum wasn’t complete until the fountain was at least in some part, restored to the palace.

On either side of the Nepture fountain, you’ll see two thin buildings. On the left, we have the Castellan’s lodge and on the right, we have the Chancery Building. A castellan is an appointed official, a governor of a castle and its surrounding territory. The chancery is the building that houses diplomatic missions, such as the Danish embassy. Both of these places were of great importance to the function of the royal family and the government.

Frederiksborg Castle Buildings

Standing in front of the Neptune fountain you’ll have an unobstructed view of the grandeur that is Frederiksborg Castle. Designed in the classic Dutch Renaissance tradition, Frederiksborg is shaped in a quadrangular structure. Dutch Renaissance architecture used red bricks for the exterior and the buildings were topped with stepped gables and towering copper spires.

The four main structures, which make up the quadrangular castle can be seen here from a distance. To the west, we have the Chapel Wing, which was built in 1606. Straight in front of your eyes is the main wing, the King’s Wing, built in 1604. To the east, we have Princess Wing built in 1608. The fourth structure is the clock tower built in 1617 after nine years of construction. These buildings are all joined together by the Terrace Wing to form the great Frederiksborg Castle.

The Terrance Wing

Guarding the entrance to the castle, is a large central doorway that leads into the secondary courtyard. Atop the doorway is a great sandstone work of art carved into the portal. This is the monogram of Christian IV. The large ‘C4’ is chiselled into a circular coin shape, surrounded by rich foliage. On either side of the monogram are two small carvings in the shape of a man and woman. On the left, we have the image of King Christian himself and on the right, is his wife, Anne Catherine of Brandenburg.

Below this area, take a look at the small coat of arms with two unicorns on either side. Unicorns are a part of a cherished Danish myth that says that the throne of Denmark was made of the horns of thousands of unicorns. As such the mythological animal is a strong piece of symbolism to the country.

On either side of the bridge before crossing into the inner courtyard, you’ll find two large sandstone statues of great lions. The lions are reared up on their back legs, with their paws wrapped around a large orb. Orbs are seen frequently in royal symbolism and are thought to represent the globe. The lions with their hands wrapped around it therein representing the Danish power wrapping around the world.

Exterior Statues

On either side of the large doorway, are a series of sumptuously decorated set of sculptures under an ornamented balustrade. Inside the little niches are sculptures of characters from astrology and mythology. The Dutch Renaissance loved these themes and this addition seemed to add to the fairytale nature of the castle. Included in these statues are images of Alexander the Great and Julius Caesar, two amazing historical leaders that the Danish kings wanted to mirror in their own leadership.

Inner Courtyard

Enter through the doorway into the inner courtyard. Staring right at you as you walk inside is the Great Gallery from 1621. This gallery is made up of a series of sculptures across the front of the King’s Wing. These statues are of various Gods and notable historical leaders. They were made by Hans van Steenwinckel the Younger in Amsterdam and brought to Denmark by ship. On the right, under a small copper dome, is the entrance to the castle well, which you can still see behind a wrought iron gate.

Take note of the use of columns here and throughout the castle. Roman and Greek architecture profoundly influenced the Dutch Renaissance as can be seen in the use of columns as adornment. But unlike in Greek architecture, these columns and moulding are richly decorated and bas-reliefs are carved into any flat surface.

Clock Tower

On the left side, we can see the huge, clock tower, marked by golden clockfaces. The clock tower features a clock face on either side of the building, so that no matter where you were in the palace, you could look out and see the time. The dials of the clock end not in a point but in the shape of a star burst and are set against a backdrop of golden sun.

The church is located under the clock tower and it is perhaps for this reason that this tower is so richly decorated. This one wing was the only one to survive the horrific fires and therefore much of the restoration work was done to mirror these original designs. At the top of the clock tower is a golden spire with a horse and crown atop it.

Stained Glass

From the exterior courtyard, look up at the windows, and bay windows, which protrude from the castle walls. Each of these windows is sumptuously decorated with vibrant stained glass, another popular feature of Renaissance architecture. Everything from family crests to royal symbology and historical portraits are represented here in delicate glasswork.

The Rose Dining Room

Enter the central doorway to step for the first time into the interior of the castle. Once you pass through the admission gate, you enter the great Rose Room. This room on the lower level is a recreation of the great Dining Room of King Christian IV. The naming of this room as the “Rose Room” is a hint at the true nature of the goings-on at royal dinner parties. The Latin phrase sub rosa means “under the rose”, and is used in English to denote secrecy or confidentiality. This dining room was where the court could come and be themselves, away from the eyes of the public.

This room was severely damaged during the fire, but luckily, dozens of paintings were made of the interiors of the castle, which were used to recreate these rooms authentically.

Interior Ornamentation

One of my favourite parts of this room is the white stucco ceilings supported by six vaults which rest on free-standing pillars. In the centre of the extremely detailed ceiling are various golden monograms set in a sea of white stucco flowers and vines. The juxtaposition of the white ceiling and dark wood floors is a beautiful piece of architectural contrast.

The wallpaper in this room is especially interesting. It was made of an imitation leather material and covered in gilt to look as rich as possible. Like running your fingers along the spine of an ancient book which covers the entire room.

Throughout the castle, there are little displays featuring clothing from the various time periods that royals inhabited the castle. This gives you an idea of the kind of regalia that would be floating up and down the hallways of the castle when it was a bustling imperial residence.

Staircase

Head through the door marked 2nd floor, which leads you up the winding staircase. This passageway leads guests into the Chapel. As you walk you’ll pass hundreds of shields, emblazoned with the coat of arms of the houses of Denmark’s royal families. They are almost piled one upon the other, making you aware of the legacy that Denmark’s royal family left on the country. There are over 3,500 of these shields in the castle. 400 of them belong to the Order of the Elephant and the remaining 3,100 belong to the Order of Dannebrog. Because the staircases were spared from the fire, all the shields are still originals.

Chapel

Walking into the Chapel, your jaw practically drops right to the floor. The sparkle of the golden ceiling, the bright glimmer of the stained glass windows and the brilliant red pews together combine to create such an awe-inspiring image. The Chapel is one of the few original rooms in the palace, as it was also spared by the great fire that consumed the rest of the building.

Dutch Renaissance

The Chapel was built in 1617, right in the middle of the great Dutch Renaissance. Since the Renaissance was all about reflecting the architectural styles of ancient Rome and Greece, you’ll see here the powerful use of columns, repeated to create a long nave and two-storey gallery. The arches which connect the pillars are richly decorated with grisaille frescos. Grisaille is a painting technique that uses only shades of grey to imitate the looks of sculptures. It was a method of achieving a more luxurious look at half the cost.

The Chapel inside Frederiksborg Castle was for more than just the king’s private prayer roon. After 1648, the chapel was the place where the future kings and queens of Denmark were crowned and anointed. It truly was an almost godly interior.

The roof is the real show stopper here. The six-vaulted stucco ceiling is pouring with golden embellishments and rosettes along the vault ribs bloom like they are in the middle of summer sunlight. In between, there are delicately painted pink cherubs looking down on the faithful below.

Paintings decorate the walls of the upper level. These paintings are from the Danish royal family’s art collection. Each one depicting scenes from the bible, featuring virtues that would befitted feature kings and inspired their good nature.

The Organ

Just below the great golden ceiling, you’ll see the other gem of the Chapel, the great organ. It was built in 1610 by Esajas Compenius and it the oldest organ in Denmark! The organ was a gift to Christian IV in 1617 when the chapel was consecrated. Despite it’s proximity to the great fire, the original wooden pipes were preserved, something which is a rarity to see in organs, since many were modernized with metal pipes.

The organ is still operational and uses a manually driven blower to create a rich sound. It requires two people to play it; one to pump it and the other to play the keys. On either side of the organ are these beautifully carved statues holding the crests of the royal family of Denmark.

On the opposite side of the church, is a new set of organ pipes, installed in 1863. While these might not be as old as the previous ones, they are, in my opinion, much more beautiful. The metal pipes are surrounded in multicoloured carvings. Everywhere you look there is a little angel poking its head out from amongst the pastel-painted decorations.

The Altar

On the lower level of the chapel, the amazing treasures don’t stop. Head up to the front of the church where you’ll find the great altarpiece and pulpit. These were both installed in the early 17th century and are by the famous silversmith Jacob Mores. The altarpiece is made of silver and ebony, with gold touches just to make the entire piece feel like something truly holy.

Coats of Arms

Other than the paintings, on the walls, you’ll see more of the amazing Coats of Arms which we were introduced to on the way up the stairs. As mentioned before these are from the Order of the Danopole and the Order of the Elephant, the two chivalric orders of Denmark.

The Order of the Elephant is the highest rank someone could receive. The Order of the Elephant shields are significantly more detailed, with a blue shashes and commander’s cross in chains painted around the shield. Look closely and you’ll see that the chain links are actually tiny elephants connected together.

Coats of Arms of Heads of State

Coats of arms were also given to foreign heads of state. These were symbolic of great partnerships such as the ones gives to the allies of WWII. They were given to both President Eisenhower and Winston Churchill. I loved studying all the different house crests in the centre of the shields. Each one was so different from the other, and it felt like, through the symbolism therein, you could learn so much about a family you’ve never met.

The Oratory

Continuing along on the upper level of the Chapel, and head under a low archway into the King’s private prayer room, or Oratory. This darkened room was where the king would come to pray, away from the clamour of the court and the public. His chapel is decorated on all sides by amazing paintings from the New Testament. Although the original paintings were lost in the fire, these new ones were inspired by paintings from the time and evoke the idea of what the oratory once would have looked like.

The walls here are carved from rich nutmeg coloured wood, with fantastically detailed decorations in between the panels. In the centre of the room stands a great silver altar, much like the one in the chapel. This was designed by goldsmith Matthäus Wallbaum in 1600 and made prayer in this small room feel all the more grandiose.

My favourite part of this room is once again, the ceiling. Turn your head upwards and spot the various strangely shaped ebony carvings. Some look like blossoming rosettes and others appear to be spikes curving into horn-like shapes. They feel so unique and almost otherworldly, something you might not expect to see in a religious setting.

Valdemarsalen

The Valdemarsalen is a pale yellow room, featuring hunting regalia all over the walls. The room is named after Valdemar I of Denmark who ruled from 1146 to 1182. King Valdemar was a great ruler and it was partly due to him that Denmark saw its rise to power in the medieval period. This room features objects from his life in Denmark in medieval times. Richly carved wood was the most popular item and various pieces of furniture from this period have been collected here to give you an idea of what Valdemar’s quarters might once have looked like.

Otto Bache

This room also features several large scale paintings depicting scenes from the Middle Ages in Denmark. One of the most interesting is ‘The Conspirators Riding Away from Finderup after Murdering King Erik Klipping‘ by Otto Bache. The scene takes place in 1286 but was painted in 1882 and depicted one of the greatest royal murders of Danish history. The nobles of Denmark were angry that King Erik had enforced several policies that they did not approve of. But instead of just opposing them, they did the very medieval thing to do and conspired to murder him. They paid off one of his most trusted companions to keep them informed of the king’s whereabouts, and one night, when he was left unguarded, he was murdered by the noble’s hired assassin. Here they can be seen fleeing after being informed of their plots success.

Audience Chamber Privy Passage

To the left, you’ll see a door marked ‘Audience Chamber‘. Head through this private passage, which stretches out across the lake. The passageway to the Audience Chamber is perhaps even more beautiful than the Audience Chamber itself. The passageway and the Chamber were designed for King Christian V in the 1680s. During this period Baroque was the style which reigned supreme! The baroque period is characterized by light and shadow and most of all, drama! The stucco used throughout the passageway is adorned in plant life, another element of importance to the baroque period. You’ll see scrolling foliage and garlands of flowers everywhere you look.

On the walls of the passage, you’ll see landscape paintings by Josse de Momper. One of the most powerful images is of Venus by Petro Liben. She gestures towards the Audience Chamber as if inviting guests inside. On the ceiling of the Privy Passage you can see four images representing earthly elements; earth, air, fire and water.

The Audience Chamber

The Audience Chamber was designed in 1616. From here you have one of the most amazing views of the lake and surrounding baroque garden. This was the King’s private room, and he wanted the best view of his great palace and grounds. Like the Chapel, this room, being so separated from the rest of the castle, also survived the great fire!

On the walls throughout the room are portraits of Christian V and his family. The largest painting is of the king with his three sons, the future kings of Denmark. In this painting, they are dressed as Roman emperors. This was a popular fashion at the time to compare oneself to other great leaders in history but looks funny to see the almost dressed in costumes.

King Christian V’s motto

On the ceiling, is a great fresco of King Christian V’s motto “With Piety and Justice.” Hanging beneath it, over the small dining table, is a large golden chandelier featuring a jumping stag in the centre. Hunting was a great pastime of Kings and royalty, especially in their country manor homes.

Above the windows are paintings of significant battles, and the king’s triumph during the Scanian War. These images were something future Kings could look up at and be inspired by in moments of doubt or failure.

One of the more exciting parts of this room is a chair located in the corner. This chair might look a little odd, and this is because it’s a chair lift that can go from this room to the floor above, which contains the king’s private apartments, just like a modern-day elevator. The chair lift was installed when the king fell ill and found it challenging to walk up the stairs between the various floors.

Painted in the four corners of the ceiling are four becoming female figures which represent the four corners of the world. At the time Denmark had colonies in each of these places and the paintings were meant to reflect this position of power which Denmark held over the world.

Room 25

From the Audience Chamber, head back through the Valdermarsalen, into Room #25. If you are ever confused as to what room you’re inside, take a look at the numbers above the doorways as they are all marked. Hanging above one of the doorways is a huge family tree from 1570. The piece once hung in the old Sonderborg Castle Chapel but was moved here to decorate Frederiskborg after the fire. The furniture inside this room is all from the 16th century and features Gothic embellishments.

One important thing to note as you explore the rooms is that they are almost entirely lit by daylight. This little detail makes the rooms feel more authentic modern museums with artificial lights. The pieces inside would not have been designed to appear under such fluorescent lighting, and therefore, they look more natural with nothing but the sun to illuminate their beauty.

Room 26

Room #26 features items from the Danish Reformation Era. During this era, Christian III came to power and became head of the Danish church. To mark the importance of this period in history, a Danish translation of the Bible can be seen under a protective glass case which was one of the first of its kind in the Danish language.

Room 27

This pale blue room with a gorgeous star vaulted ceiling is dedicated to the reign of Frederik II. Hanging above the main wood dresser are two portraits, facing each other. This is King Frederik and Queen Sofia, who would have made this room their bedchamber. The rest of the room is filled with additional portraits of the bourgeois who attended court at this time. This was the first moment in history when paintings of non-royal members of the family were allowed to be made, so their depictions are especially important.

From this room, you can easily peek out the window, and see the courtyard below. Looking out the windows of the castle is a great way to orientate yourself as you walk through the maze of rooms inside.

Room 28

Room 28 is the Noble Portraits room. It features a collection of paintings of the nobles of the Danish court. The most famous person on these walls is Tycho Brahe, a famous astronomer from the 1600s. In the centre of the room is a large suit of armour, standing guard in front of the windows. The armour is a copy of that worn by Henrik Rantzau “the learned” who visited Jerusalem and Egypt in 1623 during the Crusades.

Room 29

Room 29 is painted bright blue and the golden paintings set against the walls simply beam against the natural sunlight. This was one of the original living rooms of Christian IV. He lived in the castle beginning in 1596 when he became king at the young age of 19. The first half of his reign was more prosperous than the second half when he was plagued with the disastrous Danish 30 years war.

The large painting above the dresser is of the king himself and surrounding him are images of his children and wives. Christian IV actually had three wives throughout his lifetime. Perhaps looking at his portrait you can decide for yourself if it was his looks or his wealth that drew all these ladies to him.

Room 30

Stepping into Room 30 feels like entering a more regal part of the castle. This room is sumptuously decorated. The painting on the wall depicts events from Christian IV’s life, and the decor inside this room is curated to reflect styles that would have been popularized during his lifetime. Along the wall is a HUGE painting of the coronation of Christian IV in 1596 made in 1887 by Otto Bache. 

The ceiling is covered in frescos. They stretch from end to end and are framed in giltwood carvings which make them even more elaborate and colourful. The frescos on the ceiling feature the story of the ancient legend of Gefion. Gefion was a fantastical goddess who drove an enormous plough driven by mythical oxen. The King of Sweden offered the goddess as much land as she was capable of ploughing in one day and one night in exchange for cultivating the island of Zealand out of Sweden. Here you can see her along with her great oxen.

Nikolaus Siebenhaar

In the corner of the room, behind a beautifully panelled set of windows, is an old astronomical clock from 1644. The clock was made by Nikolaus Siebenhaar from gold plated copper on a carved wooden base. The clock was called a tellurium. The tellurium and shows the time, date, moon phase and the position of the constellations. All of which were of great importance for astronomy and astrology which influenced the king’s decisions during this time.

Room 31

Room 31 is the Leonora Christina living room. The entire room is covered floor to ceiling in dark wood panelling. The room was inspired by the amazing works of Tycho Brahe and was given an astronomical theme. The ceiling is the most impressive feature covered in a painting of the zodiac symbols as they appear in their spacial constellations.

The large painting on the wall of a man and woman with a few small dogs at their feet is Princess Leonora Christina and her husband Corfitz Ulfeldt. Leonora’s husband committed treason against the king, Leonora’s brother. Leonora herself was sent to prison by her brother for her aid in the attempted plot.

Leonora was imprisoned in the Blue Tower in Copenhagen for 22 years. When she was finally released from captivity, she wrote a series of poems on an altar cloth about her life in prison, the true nature of royal life and all the scandals she was privy to while living in the castle—basically creating the first “exposed” article of all time. You can still see this piece of history on display here today.

Room 32

A collection of minature portraits occupies the corner tower room on this floor. These adorable cameos and tiny portraits were often worn by members of the court to show their allegiance to individual members of the royal family. This was of particular significance if one royal was thought to be attempting to oust the next. And if you wanted to show your support of one royal over another casually, this was a subtle way of doing it.

Room 34

From the minature portrait room, head back to room 30 and head upstairs to Room 34. This hallway leads you through to the second floor of the castle. The walls of the hallways here are littered in paintings. The most impressive of which is the ‘Storm of Copenhagen in 1659‘ by F.C Lund. It features the night that Copenhagen was attacked by the Swedes. As the siege wore on, one of the most famous quotes from the king’s as he defended the city was “I will die in my nest“. The Swedes were defeated and suffered over 500 deaths whereas the Danes managed to defend their city fiercely and only lost 14 brave men.

Room 35

Walking through these long hallways, turn into the grand bedroom of Frederik III in Room 35. The furniture in this room is all from the 1600s during the reign of Frederik III. Take special care to study the four-poster bed in the middle of the room. It’s incredible to see how small these beds were despite being for the absolute monarchs of the time. If you look closely at the crushed red velvet bedding, you’ll see how the head of the bed is raised slightly, since it was the custom at the time to sleep with your head above your body. The bedposts are giving particular attention with carvings of kings and queens as well as mythical creatures inlaid into the wood.

This room features the most amazing wood carvings. The ceiling itself is absolutely covered in carved panels. The same strange blossoming rosettes from the oratory can be seen here paired with brightly painted circular panels.

Room 36

Room 36 features more objects from the time of King Frederick III and Queen Sofia. The style of architecture and decor inside is of the baroque style. It is lavish and bordering on pompous. The furniture throughout the room is all exquisitely created from Germany, the Netherlands and France as the Danes. The reason the furniture was not locally made was that during the reign of Frederick III, trading across Europe had started to open up making the exchange of goods and materials more popular and fashionable. “Shop local” wasn’t nearly the trend in the 1600s. The furniture is even inlaid with pieces of ebony and ivory, a way of showing off wealth in every inch of the castle.

Along the walls in this room are portraits of the men who supported and aided the king in the 1600s. There were both noblemen and academics who helped lead the realm into glory.

On the ceiling of the room is a grandiose painting of Sol. Sol is the Nordic sun goddess who travels through the sky in a chariot pulled by two great horses. Sol is responsible for imparting everlasting life and is thought to have created the spark of life on earth.

The Angel’s Room

Room 37 is also called the Angel’s Room and walking in, there is no doubt as to why. It feels truly otherworldly. When Frederick III died, queen Sofia continued to live here in her widowhood. She took it upon herself to pour her grief into the decoration of the castle. She never stopped adding decorations and embellishments until her own death. This room was badly damaged in the fire but was restored to its former glory in 1859.

The Angel’s Room was often used for both huge banquets and small family dinners. Displayed in the centre of the room is a model of the dining table complete with plastic moulds of the meals and foods which the court and royal family would have eaten in the 17th century.

Great Ceiling

The great ceiling is painted with motifs inspired by the Doge’s Palace in Venice. The paintings in the centre are of King Frederick III on the throne surrounded by the four pillars of the Danish kingdom; the nobility, the clergy, the citizens and the peasantry. In the other paintings, are allegories of war and peace.

The room display two huge paintings of two of the most important events in Fredericks III’s reign. One of the paintings features the moment he inherited Copenhagen’s Royal Palace. After the Carl Gustav wars, Frederik III had a momentous town meeting in Copenhagen to solve the financial problems the country was facing after the war. The result of this meeting was the creation of absolute monarchy and the hereditary kingdom of Denmark.

Nyborg Fjord

The second painting features the naval commander Peder Bredal when he freed his frozen vessels out of Nyborg Fjord. The painting was made by Carl Neumann in 1883. Johan Carl Neumann was one of the most famous Danish marine painters. He had a way of capturing those moments at sea which helped shape the nation. If Bredal would not have been able to free his ships from the ice, the soldiers would have been both lost at sea during the tough winter and they would not have been able to join the forces on land to defend their kingdom.

A small set of stairs leads you from this room into the Great Hall. On either side of the archway leading up to the Great Hall are a set of winged creatures, beckoning you inside.

The Great Hall

The Great Hall was built for King Christian IV but was destroyed in the great fire. Since this room was such a showstopper there was a plethora of paintings and drawings done of the space used to faithfully recreate it. King Christian ruled Denmark from 1588 to 1648. His 59-year reign is the longest of Danish and of Scandinavian monarchs. Despite the wealth displayed in this room, during his reign, he instigated various wars that almost bankrupted the country.

This fairytale-inspired room was used for balls throughout Christians’ reign. The room is set directly above the Chapel and has the same dimensions as it as well. The Hall is also known as the ‘Hall of Knights‘ as the king would often host galas for members of his royal order here.

Great Hall Fireplace

On the side of the room is what looks like an ebony coloured canopy but is actually the great black marble fireplace. The actual fireplace is hidden behind a set of tapestries as it helps keeps the cold out. Inlaid on the black marble are beautiful scenes made from panels of pure silver. I can only imagine how gorgeous the silver would have looked in the light of the fire.

When I visited the castle, there were very few people in the palace. But as I wandered around the empty hall, a small group of school children came inside and began to dance in the huge empty room. They were so sweet and made me imagine what this room might have looked like filled with courtly men and women in their finery, dancing the night away. The rich marble floor beneath their feet glimmering under the chandeliers and their laughter brought the room to life!

From looking down at the floor, take your eyes upwards to the great ceiling carvings. The ceiling was recreated based on artists’ sketches before the fire. The ceiling looks like a treasure chest, piled high with golden coins and brightly coloured jewels.

Every inch, every centimetre of the ceiling is embellished in carvings and paintings. Angels flit about among orange trees, crowned rosettes, and beautiful swirling fillagree. Scenes set into the ceiling represented the various crafts of the Danish people, such as the paper mill, the printing press, and even the watchmaker. Surrounding these scenes are allegories of God’s attributes. A balance between the godly and the earthly delights.

Great Hall Tapestries

One of the most important pieces of art in the hall are woven tapestries. The tapestries depict the life of Christian IV and are copies of original tapestries found outside the castle, having been saved from the fires. The tapestries were made specifically for the museum to restore the look of the Great Hall.

Facing in on the hall are portraits of the members of the House of Glücksburg. The house of Glücksburg has been the Danish Royal Household since Christian IX in 1863. The current reigning queen, Margaret, is from their dynasty and keeps her family’s legacy alive today.

At the front of the room, under the most enormous golden chandelier, is the throne and king’s table. The throne is covered by a rich red velvet canopy with golden embroidery depicting Christian IX’s Danish monogram.

Gothic Globe Room

From the Great Hall, head back into the Angels Room and towards Room 39, which is located in the corner tower. This room also called the Gottorpske Himmelglobus or Gothic Globes room. The golden globe in the centre of the room was made for Frederik III. This celestial globe depicts the world view of Nicolaus Copernicus. Nicolaus Copernicus was a Renaissance-era mathematician and astronomer, who formulated a model of the universe that placed the Sun rather than Earth in the center o the universe. The entire piece took over three years to be completed in 1657.

Astronomical Designs

The sky is represented around the exterior and inside the sphere are tiny gold balls which are the earth and, the moon. The other planets are also represented by smaller silver balls inside. The sun is in the centre of all of this, represented by a large brass ball. Around the exterior of the sphere are these beautiful depictions of the zodiac symbols surrounded by astronomical constellations. But the piece is not just an art exhibit, each of the objects moves based on the 24-hour clock. The room also features portraits of court mathematicians, astronomers, librarians and the heads of the Art Chambers.

While the ceiling here is pure white, the stucco designs were made to reflect the presence of the celestial globe and also feature images of the zodiac symbols.

Room 40

Head back to Room 36 and continue from here to Room 40. In this room was have items from Christian V’s reign from 1670 to 1699. Christian V was the first king who was anointed in the palace. In the center of the room is a book with the page opened to the King’s Act of 1665 which was the legal basis upon which the Danish Monarchy was formed.

On the left side of the wall is a large portrait featuring Christian V in his fancy dress. Seeing his face both here and throughout the castle always makes me feel like he’s still watching over the palace even hundreds of years after his death.

This room also has one of the best view of the castle layout and baroque gardens outside.

Room 41

Room 41 features statesmen and artists from Christian V’s reign. Among them were the naval hero Niels Juel, baroque poet Thomas Kingo and merchant turned chancellor, Peder Schumacher.

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Room 42

Room 42 marks the transition between the 1600s and the 1700s. This period was marked by the Baroque style. Baroque and Rococo are my two favourite stylistic periods as they are synonymous with ostentatiousness and grandeur. Instead of wallpaper decorating the walls, they were covered in huge woven tapestries. These tapestries depicted scenes of Alexander the Great entering Babylon and the battle of the Persian kings. They were fantastical depictions of the greatest rulers from history. The tapestries were made in Louis XIV’s factory in Paris and were made by the very best weavers around the world.

The beautifully carved and upholstered canopy bed was made in Paris around 1724. They called this style of bed a “parade bed”. It was made for Christian V when he married Christine Catherine von Holstein in 1724. You can see their monograms, CDS and CCH, carved into the bedframe. My very favourite part of this bed is the silver fireguard which sits in front of the bedroom to protect it from the sparks of the fireplace. It’s shaped into a heart and feels like it warms the room, even without a fire.

Room 43

Room 43 is centred around the large painting of King Frederick IV. Frederick IV reigned from 1699 to 1730. Frederick didn’t have the best time ruling the kingdom. During his reign, Copenhagen was struck with both the great plague of 1711 and the great fire of 1728, which destroyed most of the capital. Wanting to escape Copenhagen, Frederick spent much of his time building onto Frederickborg Palace. While Frederick wasn’t much of an academic, he loved art and architecture and it is perhaps for this reason that the castle became so magnificent. Chinese imports were becoming all the rage in this time and many of these oriental objects can be seen in this room.

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Room 44

Head into the corner tower where you’ll find room 44. Here you’ll find portraits of a number of prominent figures of Frederik’s IV’s reign. But what is most interesting to study in this room is the golden leather wallpaper which has been applied to the walls. This leather wallpaper appears throughout the castle but is most notable here both for its size and grandeur.

Room 46 – The Princess Wing

A long pastel pink hallway runs down this side of the castle, with various rooms extending off of it. This area of the castle is called the ‘Princess Wing‘. Most of the objects and paintings in this area are from the reign of Frederik IV and Christian VI from the first half of the 18th century. The Rococo style began in France in the 1730s as a reaction against the more formal and geometric Style of Louis XIV. Rococo dressers line the hallway, marked by their curves and sculptural moulding.

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Room 47

The pale blue room decorated with a myriad of the golden frames is from the time of Christian VI who ruled from 1730 to 1746. Various paintings in this room feature Queen Sofia Magdalene and her children.

In addition to the series of paintings, there are a set of chairs in here which are original from the court of Christian VI. There is also a cupboard containing an original Meissen porcelain collection. Meissen porcelain was one of the most popular items to show off your status at the time. Take note of the punch bowl in the shape of a bishop’s hat made in Copenhagen.

Room 48

Continue along through the rooms and head into Room 48. This light rose coloured room contains more objects from the 18th century. Two portraits of Frederick V by C.G. Pilo cover the walls. Pilo was responsible for most of the rococo designs throughout the castle during this period. He was the king’s personal stylist and interior decorator.

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The furniture in here is much lighter than in previous generations. Patterns are no less opulent but the subtle tones make it feel less busy. There is definitely an air of elegance here over opulence here.

Room 50

Room 50 contains a portrait of a rather turbulent figure in the royal household. During Christian VII‘s reign his wife was having an affair with a man named Struensee. Struensee was the king’s doctor, in addition to being the lover of the queen. Struensee used his influence over the king to control the kingdom as he saw fit. Finally, when the King discovered this treachery he had the doctor executed for crimes against his majesty. His portrait still hangs in the castle, perhaps as a reminder to those who might attempt to do the same.

Room 52

Room 52 features dignified furniture in the style of Louis XVI. The canopy sofa with a gold plate actually pulls out to be a double bed. Proves how the castle was starting to modernize with the times. The tableware in here is another gorgeous example of the style of Rococo flatware with botanical imagery all over it which was a popular icon on the style.

Room 54

Exiting back into the hallway, you’ll see that the walls have changed colours from the pastel blush pink, to mustard yellow. Along the walls are vintage pieces of furniture from the 1800s. But the most impressive part of this corridor is the gold plated ceiling. Inlaid with images of roman leaders, they look almost like giant coins glued onto the ceiling.

Room 55

Room 55 is one of the plainer coloured rooms but the sheer number of paintings on the wall makes it no less interesting. On the wall opposite window, are two grand pictures of the Battle of Copenhagen in 1801, depicting the vanquished Danish fleet. Despite this great military loss, the early 1800s were a boom time for the Danes. It was a golden age for art, literature, and science. Portraits on the wall reflect the various men and some women who helped shape this golden age. In the room is a set of Danish Imperial living room furniture, covered in rich red leather, which belonged to the household of Frederick VI.

Room 57, the Gable Room

The brightly painted red room in the back of the Princess Wing is called the Gable Room. This room is full of portraits of poets and artists from the Danish Golden Age. You’ll find pictures of actress Johanne Luise Heiberg, poet H.C. Andersen, and W. Marstrand. This change in who is portrayed in castle portraits, from the royals to portraits of celebrities, shows the shift in power dynamics during this time. The painting of actress Johanne Luise Heiberg was commissioned by her husband Johan Ludvig Heiberg. It was painted in the middle of the crisis that would lead to their eventual breakup. Her stern face clearly reflects her cross feeling about sitting for the portrait with a man she no longer was the biggest fan of.

The chandelier in the center of the room is one of the most impressive designs, with large round orbs hanging from it, it looks almost like a mythical fruit tree. It’s a big departure from the traditional chandelier designs throughout the rest of the castle and is another example of the change in both power and design during this era.

Room 58

In the last room, Room 58, you can visit a bust of the great linguist Rasmus Kristian Rask. Rask travelled the world studying Icelandic grammar and Oriental languages and is considered one of the founders of modern linguistics. Beside the statue of Rask is a stately telescope design from the mid-1800s. It was once used by Johan Ludvig Heiberg when he visited the palace.

Room 61

Take the stairs down to Room 61 back on the 1st floor. This room is commanded by a huge painting of the Constitutional Assembly from October 1484. This is when the king gave up his monarchical powers and when the first democratic election in Denmark took place. In this painting, you can see famous politicians from Danish history.

The ceiling in this room is once more sumptuously decorated with wood carvings and paintings of naval battles inlaid in the center.

Room 63

Room 63 is dedicated to the Three Year War which raged from 1848-1850. Denmark was fighting against the Germans, who had taken their land to the south. Two large paintings on the wall are of the greatest heroes of this war which lead Denmark to victory.

The ceiling styles in this era are definitely something to behold, as they appear to be an art gallery all unto themselves.

Room 64

Room 64 was actually a part of the museum created for not crown royalty, but for the great poet Adam Oehlenschlager. On the 100th anniversary of his death, the museum collected objects and paintings of the great Nordic poet and dedicated this room to his memory.

Room 65

Room 65 features images from the war of 1864. Prussia and Austria both attacked Denmark during this time. The war ended only when Denmark agreed to hand over parts of their land to Austria but managed to hold onto the small island of Ærø, which remained Danish. Ærø is my favourite spot in Denmark so I can see why that place would have been so important for them to hold onto.

The ceiling in this room features a large central painting depicting Jupiter and Juno. Juno and Jupiter are husband and wife and considered to be the King and Queen of the gods. They are often seen in Royal residences, as the royals are thought to be their earthly counterparts. Juno is the goddess of marriage, and childbirth and Jupiter was the god of the sky and thunder.

Room 66

This room is dedicated to the businessmen of the 19th century who helped move the Danish economy along. Agriculture, the dairy industry, shipyards, railways and breweries were booming and the various men in this room had a large part in their success.

Room 67

In this room, we see images of the Glucksborg families once more. Upon the death of Frederick VII in 1863, the throne passed to Christian IX who was a member of the Glucksborg family, and this was when their reign would commence. The furniture in this room is the most modern, all coming from the 19th and 20th centuries.

Room 68

The last room to study before heading outside is Room 68, which is dedicated to the memory of Brygger Jacobsen, who founded the museum which is now Fredericksborg Palace. Brygger Jacobsen, continued the legacy of his father’s brewer, Carlsberg Brewery, which is still to this day one of the most popular beers not only in Denmark but around the world.

Mønttårn tower

After you’ve finished touring the castle, head outside, around the castle over towards the baroque gardens. To enter the gardens you’ll enter through the Mønttårn tower, which contains the Audience we saw inside. This part of the castle was built in 1616 in high-renaissance style.

Study the swinging gables and gorgeous bay windows. The exterior is decorated in sculptures of Venus and Mars and musicians.

Baroque Gardens

Walk underneath the archway and across the stone bridge towards the Baroque gardens. The baroque gardens which surround the castle are designed in the typical style of the age. It was created by architect J. C. Krieger in 1725. Baroque gardens during this time were designed in a symmetrical pattern and used hedges and bushes to create an outer structure.

Within the lower portion of the gardens, you’ll find the hedges are carved into unique patterns which form of the Royal monograms. These monograms are of Frederik IV, Frederik V, Christian VI and Margrethe II. These are all the monarchs who ruled within the walls of this castle.

Toward the far end of the garden, off to the left is a series of small lakes, a bathhouse and an English style garden. This is also sometimes called the Romantic garden as it presents the uncurated and raw beauty of nature in contrast to the highly manicured and planned structure of the baroque garden.

The Little Ferry

After finishing wandering the incredible gardens, head over to the ferry dock to catch a ride around the castle lake. The ferry captains are the most charming old men and their cheerful banter was one of the best parts of the journey on the ferry.

The trip across the lake takes 30 minutes and costs DKK 30 ($4.50 USD) for adults and DKK 10 ($1.50 USD) for children. The last ferry departs the castle at 5 pm in the summer and 4 pm in the autumn so be sure to catch it before then. In the wintertime, the ferry is closed since the lake often freezes over.

Boating away from the castle, you have the most incredible view of the entire palace from on the water. The peaceful lull of the waves and the picturesque red brick against the bright blue sky is almost so beautiful its hard to imagine that this place is real and not just a fairytale.

This brings us to the end of our tour! The ferry boat will let you off on the other side of the lake, where you can wander around the village or head back to the train station to catch the train back to Copenhagen. While watching, the countryside fade back into the city, think back to all the wondrous things we saw at the Palace. What was your favourite room or treasure you discovered? Let me know if you’ve ever visited Frederiskborg Castle or what you’re most looking forward to seeing on your first visit!

Happy Travel Adventurers

The post Discover Denmark’s Amazing Hidden Gem: A Guide to Frederiksborg Castle, the Best Day Trip from Copenhagen first appeared on The Creative Adventurer.