You see all those tired people on the benches? Some of them are there simply because they are overstimulated. Instead, with this National Gallery self-guided tour, I’ve curated the most important works and a few of my personal favourites. By following along, you can ensure you have a guide around the museum, but take things at your own pace and don’t get overwhelmed.

Table Of Contents

1. Why Take a National Gallery Self-guided Tour?
2. Admission to the National Gallery of London
3. Map of Self-Guided Tour of the National Gallery of London
4. Room 12: Hans Holbein the Younger, 'The Ambassadors'
5. Room 14: Venus and Mars by Sandro Botticelli
6. Room 9: Leonardo da Vinci, 'The Virgin of the Rocks'
7. Room 15: Saint Michael Triumphs over the Devil by Bartolomé Bermejo
8. Room 18: Samson and Delilah by Peter Paul Rubens
9. Room 22: Rembrandt's A Woman Bathing in a Stream 
10. Room 25: Lucas Cranach the Elder, Cupid complaining to Venus
11. Room 28: The Arnolfini Portrait by Jan van Eyck
12. Room 27: The Ugly Duchess by Quinten Massys
13. Room 29: Titian's Bacchus and Ariadne
14. Room 30: The Toilet of Venus by Diego Velázquez
15. Room 32: The Supper at Emmaus by Caravaggio
16. Room 34: The Fighting Temeraire by Joseph Mallord William Turner
17. Room 41: The Water-Lily Pond by Claude Monet
18. Room 41:  The Umbrellas by Pierre-Auguste Renoir
19. Room 43: A Wheatfield with Cypresses by Vincent van Gogh
20. Room 43:  Bathers at Asnières by Georges Seurat
21. Room 45: The Execution of Lady Jane Grey by Paul Delaroche

Why Take a National Gallery Self-guided Tour?

Even if you’re not in a rush, a self-guided highlights tour of the National Gallery allows you to efficiently explore the vast collection of over 2,300 pieces without feeling overwhelmed.  A phenomenon called ‘museum fatigue‘  happens when we become mentally and physically exhausted due to the overwhelming number of exhibits and information in museums and galleries. This often leads to mental overload and a decreased ability to appreciate the art when we feel overstimulated and disengaged. However, a self-guided tour is short enough not to lose your interest, and being guided means you don’t need to make decisions after making decisions on where to go and what to see.

By focusing on the most notable and significant works, you can enjoy a personalized experience that allows you to spend more time with the art that captivates you. Plus, with the flexibility to control your pace and take breaks as needed, so you’ll avoid feeling lost or overstimulated. This tour will also provide insightful commentary to deepen your understanding while ensuring you maximize your visit. So, whether you’re an art enthusiast or just curious, a self-guided tour lets you explore the National Gallery!

How Long Is This Tour?

This tour is designed to get you through the most important works inside the gallery in under two hours. This is the perfect amount of time and leaves enough wiggle room for you to branch off if you feel like exploring other works that catch your eye.

Do not be discouraged if any paintings are not on display during your visit. There is SO MUCH to see here, and if your favourite is missing, make it your mission to discover another new favourite!

Admission to the National Gallery of London

Admission to the National Gallery in London is free, allowing visitors to explore over 2,300 paintings. Some special exhibitions may require paid tickets, but we won’t cover anything from those on our tour. My self-guided tours are always free, but you are more than welcome to buy me a coffee if you want to support this blog’s free content!

Despite the fact that entry is free, it is always recommended you still book your tickets in advance. You can still select the free option but by doing this, you can skip the long queue and guarantee your entry to the museum as some days frequently fully-book up in advance and you will not be able to get inside. 

Map of Self-Guided Tour of the National Gallery of London

Enter via the Portico Entrance

Currently, visitors to the National Gallery in London enter primarily through the Portico Entrance, at the centre of the Gallery overlooking Trafalgar Square. As you step inside, you’ll be greeted by a stunning, sunfilled atrium that leads to a series of rooms, each filled with beautiful works of art. To start our tour, we will head into Room 12, just off to the left of the Central Hall. Inside this room, you’ll find one of the most enchanting and intriguing paintings of the 16th century, the ‘The Ambassadors’ by Hans Holbein the Younger, painted in 1533.

Room 12: Hans Holbein the Younger, ‘The Ambassadors’

The Ambassadors by Hans Holbein the Younger is a fascinating double portrait with intricate details and hidden meanings. In a room adorned with luxurious fabrics, two men stand side by side, exuding the confidence and wealth of the Renaissance elite. On the left is Jean de Dinteville, a French ambassador dressed in opulent furs and a striking pink satin doublet. On the right is his companion, Georges de Selve, a bishop and ambassador who wears a more sombre yet elegant robe.

In front of them is a meticulously arranged table showcasing their intellectual interests and items popular in the Renaissance era. The upper shelf displays instruments related to astronomy and timekeeping, symbolizing their quest for knowledge and the celestial realm. Below, the lower shelf holds musical instruments, a lute with a broken string, and an open hymn book, hinting at the fragility of harmony in music and life.

But wait, there’s a twist! At the bottom of the painting lies an odd, elongated shape that is difficult to discern. But when viewed from the right angle, it reveals itself as a skull—a stark reminder of mortality cleverly hidden through anamorphosis. This skull, along with a crucifix partially obscured in the upper left corner, contrasts the opulence of the scene and reminds viewers of the transient nature of earthly pleasures.

Holbein masterfully uses perspective and symbolism to infuse the painting with layers of meaning. The globe in the painting is so detailed that it reveals Jean de Dinteville’s estate in Polisy, France, and the lute’s broken string is often interpreted as a symbol of religious discord during the Reformation.

Room 14: Venus and Mars by Sandro Botticelli

Make a quick stop inside Room 14, where you can find the stunning sensuous Venus and Mars by Sandro Botticelli. Venus, the goddess of love, reclines languidly on a grassy bank, her serene expression radiating tranquillity as she gazes across at Mars, the god of war. Mars, overcome by sleep, lies opposite her with his armour carelessly discarded around him, exposing his muscular body. He is utterly at peace, a stark contrast to his usual fierce demeanour, subdued by the power of love.

Venus is elegantly draped in flowing white fabric that cascades around her, accentuating her graceful form. Her long, golden hair tumbles down her shoulders, catching the soft light and adding a touch of warmth to the composition. Her gaze is calm yet commanding, suggesting her mastery over Mars, depicted in a dreamy vulnerability.

In the foreground, a group of mischievous satyrs plays with Mars’s armour, one trying on his helmet while another blows into his conch shell like a trumpet, amusing themselves in the god’s slumbering presence. These playful figures add a whimsical touch to the scene, symbolizing the folly of war and the triumph of love.

Venus and Mars were likely commissioned to celebrate a wedding, and the theme of love conquering all would have resonated with newlyweds of the time. The laurel tree in the background and the myrtle plants near Venus are symbols of fidelity and everlasting love, while the satyrs’ playful antics suggest the joys and challenges of marital life.

Room 9: Leonardo da Vinci, ‘The Virgin of the Rocks’

Continue walking west towards Room #9, where, during the closure of the Sainsbury Wing, you’ll find Leonardo da Vinci‘s The Virgin of the Rocks. This painting, completed in the late 15th century, is a masterpiece of Renaissance art. Leonardo da Vinci transports viewers into an enchanting, mystical grotto where the divine and the natural intertwine. A shadowy cave is bathed in a soft, ethereal light. In the center, the Virgin Mary sits gracefully, her serene face framed by cascading waves of auburn hair. She reaches out to embrace an angelic infant, John the Baptist, who gazes up with adoration at the Christ Child beside her. Jesus, with one hand raised in blessing, looks playfully at John while an angel to the right gently gestures toward them.

The rocky backdrop, lush with ferns and flowers, leads your eye to distant peaks that shimmer in the twilight haze. You can almost hear the trickle of water as it cascades down the moss-covered cliffs, adding a touch of magic to the scene. Using sfumato, Leonardo’s signature blending technique gives the painting a dreamy, soft-focus quality that brings the figures to life. And then there’s the symbolism. The cave itself is thought to represent the Virgin Mary’s womb, while the figures’ careful positioning forms a perfect triangular composition, symbolizing the Holy Trinity. The angel, identified as Uriel, serves as a celestial guide, his enigmatic smile inviting us into the sacred mystery.

Variations on the Painting

But here’s a fascinating twist: The Virgin of the Rocks has two versions. The one hanging in the National Gallery is thought to be the second version, painted by Leonardo and his assistants after a dispute with the Confraternity of the Immaculate Conception over the original, which resides in the Louvre. Despite the controversy, both versions share the same ethereal beauty and attention to detail. In the National Gallery version, the angel Uriel’s right hand initially pointed directly at John the Baptist in a gesture of recognition, but Leonardo later altered this detail to make the composition more subtle and mysterious. 

Room 15: Saint Michael Triumphs over the Devil by Bartolomé Bermejo

Walk north into Room 15; I love to bring people to study Bartolomé Bermejo’s Saint Michael Triumphs over the Devil. Saint Michael Triumphs over the Devil by Bartolomé Bermejo is a dazzling display of medieval imagination and gothic grandeur that whisks you away to a world of celestial battles and divine triumphs. In a richly detailed scene, Saint Michael stands imposingly atop a writhing, grotesque devil, his polished armour gleaming like molten gold in the sunlight. His wings unfurl behind him, a radiant and shimmering rainbow of colours.

Saint Michael’s expression is one of calm determination as he raises a delicate yet formidable sword, preparing to deliver the final blow to his snarling foe. The Devil beneath him is a terrifying fusion of reptile and demon, with scales, horns, and bulging eyes that dart frantically in all directions. Bermejo’s meticulous brushwork brings this nightmarish creature to life, making you almost feel its desperate struggle against the saint’s unwavering might.

The Tiny Details

Look closely at the saint’s breastplate, and you’ll see exquisite reflections of the holy city of Jerusalem as described in the Book of Revelation. The jewel-like colours and intricate patterns of his garments and armour reveal Bermejo’s unparalleled skill, influenced by Flemish painting but distinctly Spanish in style. The golden brocade glimmers with every movement as if the saint is caught between the material and spiritual worlds.

Bermejo painted Saint Michael’s Triumphs over the Devil for a merchant named Antonio Juan, who appears kneeling at the saint’s feet in prayer. His inclusion as a donor reflects the era’s tradition of combining devotional art with personal commemoration. 

Room 18: Samson and Delilah by Peter Paul Rubens

Straight ahead, step into Room 18, where we can find several paintings by Peter Paul Rubens. Samson and Delilah by Peter Paul Rubens is a sumptuous masterpiece that immerses you in the dramatic climax of one of the Bible’s most infamous love stories. A dimly lit room, where the warm glow of a single candle casts dancing shadows on the crimson drapery and richly textured fabrics, is the chamber where lies the mighty Samson, slumped in Delilah’s lap, his muscular body glowing in the soft light as he drifts into a deep, wine-induced sleep. Delilah, draped in a lavish red satin gown that shimmers with golden highlights, looks down at Samson with a sly smile. Her expression is a mix of triumph and tenderness as she strokes his thick curls, signalling to an old woman beside her to cut his hair, the secret of his legendary strength. The old woman watches with a knowing gaze while a furtive barber crouches in the shadows, scissors poised to sever Samson’s fate.

But the scene is far from peaceful. Behind the lovers, hidden in the deep shadows, soldiers armed with spears and helmets wait in anticipation, ready to capture the hero as soon as he is rendered powerless. Rubens brilliantly orchestrates this tense moment, balancing intimacy with looming danger, all within the rich, chiaroscuro palette that evokes the influence of Caravaggio. Rubens was inspired by Caravaggio’s The Taking of Christ and often borrowed motifs from the Italian master’s dramatic style. In Samson and Delilah, he paints Samson’s limp hand mirroring the composition of Michelangelo’s Creation of Adam on the Sistine Chapel ceiling, suggesting a loss of divine power.

Room 22: Rembrandt’s A Woman Bathing in a Stream 

The National Gallery features several famous Rembrandt’s, but Rembrandt‘s A Woman Bathing in a Stream is the most enigmatic to me. This quietly captivating painting invites you into an intimate and contemplative moment frozen in time. In the center stands a solitary woman, her head gently bowed as she lifts the hem of her white chemise, delicately dipping her toes into the cool, reflective water. Rembrandt’s mastery of chiaroscuro is on full display, with the woman bathed in a soft, golden light that contrasts beautifully against the dark, earthy tones of the surrounding foliage. Her youthful face is serene, a faint smile playing on her lips as if she’s caught in a moment of quiet reflection. The subtle blush on her cheeks and slightly furrowed brow convey an innocence and vulnerability that make her seem almost tangible.

The textures are mesmerizing: the delicate folds of her chemise ripple in the soft breeze, her loosely bound hair catches the evening light, and the water swirls gently around her feet. The way Rembrandt has captured the reflection in the stream and the dappled light on her skin adds to the painting’s lifelike quality. Rembrandt portrays the woman naturally, with a softness and realism that celebrates her humanity rather than idealizing her form. The result is a deeply personal and emotive work that transcends time.

The Mystery Woman

What’s particularly intriguing is the identity of the woman. Many believe she is Hendrickje Stoffels, Rembrandt’s companion and muse, who frequently appeared in his later works. Rembrandt painted this intimate piece around 1654 when he was deeply in love with Hendrickje and exploring new forms of expression. His tender attention to her features and posture reflects his affection and admiration for her. However, her simple attire and modest demeanour suggest she may represent a biblical figure, such as Susanna or Bathsheba. Rembrandt leaves this deliberately ambiguous, allowing viewers to interpret the scene through their own lens. The painting also stands out for its departure from classical ideals of beauty. 

Room 25: Lucas Cranach the Elder, Cupid complaining to Venus

Make your way toward Room 25, which contains a myriad of paintings by Lucas Cranach, the Elder. My favourite from this collection is Cupid complaining to Venus due to the delightful and playful nature of this painting. Venus stands in a sunlit glade with towering trees, the epitome of beauty and grace, her delicate form glowing against the dark foliage. She wears nothing but a red, feathered hat and lavish necklace. Her relaxed pose and enigmatic smile hint at a serene confidence.

Beside her stands Cupid, her mischievous son, looking up at her with a pouty expression as he complains about the bees that have stung him after he tried to steal honey from their hive. He holds one hand up to show Venus his plight while she listens with an amused expression, her gaze slightly averted as if she’s in on a secret joke. The contrast between Cupid’s distress and Venus’s calm demeanour adds a touch of humour to the scene. The scene represents the tempting sweetness of love but reminds us that love often comes with a sting.

Room 28: The Arnolfini Portrait by Jan van Eyck

Directly below us is Room 28, which contains perhaps one of the most famous paintings in the entire world: The Arnolfini Portrait by Jan van Eyck. This painting is a mesmerizing glimpse into 15th-century life, brimming with symbolism and exquisite detail. We see a dimly lit, opulent room where every surface shimmers with textures and colours. In the center, a couple stands facing each other, frozen in time. 

Giovanni di Nicolao di Arnolfini, a wealthy merchant, reaches out to grasp the delicate hand of his wife, believed to be Giovanna Cenami. His other hand is raised in a gesture of blessing or perhaps an oath.

Giovanni wears a long, fur-lined robe in deep green, while Giovanna is adorned in a vibrant emerald gown, the fabric pooling luxuriously around her feet. Her high-waisted dress accentuates her rounded belly, hinting at pregnancy. Her hair is carefully coiffed under a white headdress, and a delicate gold chain rests around her neck. Both figures exude wealth and status. The painting has sparked countless interpretations, with scholars debating whether it depicts a wedding, a betrothal, or a double portrait. Whatever the meaning, it’s clear that Jan van Eyck wanted to immortalize this couple in a scene that feels almost cinematic in its composition and attention to detail.

Symbolism of the Room

But the room around them truly captivates viewers to this day. The intricately woven Oriental carpet, the brass chandelier, the carved wooden bedposts, and the sumptuous drapery all speak to the couple’s affluence. The convex mirror on the back wall is the pièce de résistance, reflecting the couple and two other figures entering the room, one of whom is thought to be the artist himself. Above the mirror, Jan van Eyck leaves his unmistakable signature in Latin: “Johannes de Eyck fuit hic 1434” (“Jan van Eyck was here 1434”).

The symbolism in the painting is rich and fascinating. The little dog at their feet symbolizes fidelity, while the single candle burning in the chandelier could represent the all-seeing eye of God or the sanctity of marriage. The ripe oranges on the windowsill and table hint at fertility and wealth, as exotic fruits were rare in Northern Europe back then.

Room 27: The Ugly Duchess by Quinten Massys

In Room 27, we find another famous painting, but unlike many others in the gallery that are famed for their beauty, this one is famed for its hideousness. An Old Woman (‘The Ugly Duchess’) by Quinten Massys is a captivating and curious portrait that grabs your attention with its exaggerated features and striking expression. Despite being called ugly, we must marvel at how the picture has been painted. The old woman stands facing slightly to the left, her broad, muscular shoulders covered by a light white, voluminous blouse contrasting sharply with her wrinkled, ruddy face. Her pursed lips give her an almost comical yet somewhat sympathetic expression. Her large headdress, a lavish horned bonnet draped in white linen, gives her a distinctive, nearly mythical appearance. She holds a delicate red rosebud in her right hand between her thumb and forefinger, an ironic symbol of love and beauty that contrasts starkly with her unconventional looks.

Massys exaggerates her features for satirical effect, giving her a prominent chin, wide jawline, and a wrinkled, weather-beaten complexion. Her sagging breasts and bulging eyes lend her an exaggerated, grotesque appearance reminiscent of a caricature. Despite her somewhat humorous portrayal, there’s an underlying melancholy in her eyes, revealing a depth of emotion beyond the surface. Some speculate that she may have been afflicted with Paget’s disease, a condition that affects bone growth, further enhancing the grotesque distortion of her features. 

Inspiration for Alice in Wonderland

Massys originally painted this as part of a double portrait, paired with a companion piece that featured an older man in a matching caricature style. This pairing hinted at a satirical message about love and vanity in old age. The Duchess’s story is also linked to the tale of Alice in Wonderland, where she inspired John Tenniel’s illustrations of the Ugly Duchess character. Her distinct appearance and exaggerated features have made her an iconic figure in art history, representing the intersection of satire, beauty, and societal norms.

Room 29: Titian’s Bacchus and Ariadne

Moving back down to Room 29, let’s approach Titian‘s fantastical portrayal of the myth of Bacchus and Ariadne. This vivid and dynamic masterpiece brings the mythological story of love and transformation to life. Bacchus, the god of wine, with his crowned wreath of ivy and leopard skin draped across his body, leaps gracefully toward Ariadne from his golden chariot, his eyes locked on her with unwavering passion.

Ariadne stands on the shore, her gaze fixed in surprise and awe at Bacchus, who has fallen in love with her at first sight. Draped in a flowing azure cloak, she raises one hand in shock while the other clutches her rich red and blue robe. Her golden hair catches the sunlight, and her skin glows against the vivid colours of the sky and sea. 

The frenzy of his retinue follows close behind, creating a swirling vortex of revelry. Satyrs and maenads dance ecstatically, their bodies twisting and turning in celebration. One satyr drags a cow’s head, while another, barely visible in the shadows, holds a writhing snake. A pair of cheetahs pulls Bacchus’s chariot, adding an exotic touch to the scene. The scene is bathed in a warm Mediterranean light, illuminating the turquoise sea and the rugged coastline in the background.

Every inch of the canvas bursts with energy and movement, making you almost feel the thundering hooves and swirling drapery. The composition is carefully balanced, with Ariadne’s figure anchoring the left side while the frenetic procession cascades across the right. The cheetahs pulling Bacchus’s chariot symbolize his exotic and wild nature, while the dancing satyrs and maenads embody the spirit of uninhibited revelry.

Room 30: The Toilet of Venus by Diego Velázquez

Walking towards the east, we step into Room 30, which contains The Toilet of Venus by Diego Velázquez. This is an exquisite exploration of beauty and sensuality, inviting viewers into a serene and intimate moment. The word “toilet” might not seem immediately like something that could evoke sensual tranquillity, but we have to consider the historical context of the painting. During the period in which this was painted, the term “toilet” comes from the French word toilette, which means “little cloth” or “dressing table.” The goddess Venus reclines gracefully on a luxurious bed, her supple, alabaster skin contrasting beautifully with the rich, crimson satin sheets beneath her.  The fabric draped around her waist accentuates her delicate curves, adding a touch of modesty to the otherwise sensual scene.

Cupid, with his rosy cheeks and tousled curls, holds up a mirror for his mother, his wings slightly outstretched as if caught in mid-flutter. The mirror captures Venus’s blurred reflection, her gaze meeting ours through the glass with a serene and enigmatic expression. The subtle twist of her lips and the soft blush on her cheeks suggest a playful yet confident awareness of her beauty.

The composition is beautifully balanced, with the deep reds of the bedspread contrasting against the cool, neutral tones of Venus’s skin. The dark background enhances the luminous quality of her figure, while the delicate interplay of light and shadow gives her an almost ethereal glow. The painting is often called The Rokeby Venus because it once belonged to the Rokeby Park estate in England. It is also one of the few surviving nude paintings by Velázquez, a rarity in Spanish art of the time due to strict moral and religious codes.

Room 32: The Supper at Emmaus by Caravaggio

In the next room, framed on the rich red walls, is Caravaggio‘s masterpiece, The Supper at Emmaus. Christ sits at the center of a rustic table just as he reveals his identity to two disciples. Their expressions are a mix of astonishment and disbelief, capturing the moment they recognize him. Christ, dressed in a simple white tunic and deep red robe, raises his right hand in blessing over the bread. His serene yet commanding presence contrasts with the disciples’ startled reactions. 

On the left, one disciple leans back in shock, his mouth open in amazement as he clutches the arm of his chair, while the other disciple, on the right, throws his arms wide in disbelief, almost knocking over a bowl of fruit. Their gestures and expressions are so lifelike that you can practically hear their gasps. In front of Christ sits an innkeeper, who watches the scene with a puzzled expression, oblivious to the miracle unfolding before him. 

The table has simple yet symbolic fare, including a roasted chicken and fruit basket. The latter includes a pomegranate, symbolizing resurrection, and an apple, representing original sin. The fruit teeters precariously on the edge, suggesting the fragile line between the earthly and the divine.

Caravaggio Process

Caravaggio’s mastery of chiaroscuro—the dramatic contrast between light and shadow—creates a powerful sense of depth and immediacy. The figures are illuminated by a soft, focused light that highlights their expressions and gestures while the background remains shrouded in shadow. This technique draws viewers into the scene, making them feel like participants in the miraculous moment.

Caravaggio used real-life models for his paintings, a practice that added a striking naturalism to his work. In The Supper at Emmaus, he paints Christ without a beard, which is unusual and adds to the disciples’ surprise at his identity. The realism and immediacy of the painting caused quite a stir when it was first unveiled.

Room 34: The Fighting Temeraire by Joseph Mallord William Turner

Walking into Room 34, we are surrounded by stunning British landscapes. Joseph Mallord William Turner, commonly known as J.M.W. Turner, is one of Britain’s greatest painters who revolutionized landscape painting by elevating it to the level of historical and religious painting through his innovative use of light and colour. In masterpieces such as The Fighting Temeraire, Turner explored themes like the sublime forces of nature, maritime history, and the Industrial Revolution.

In this painting, the sun sets over the tranquil waters of the Thames, and the mighty HMS Temeraire, once a symbol of British naval power, is towed to her final berth to be broken up for scrap. Looking at the foreground, we can see a small, smoke-belching tugboat dragging the grand old warship, a stark contrast between the modern industrial age and the fading glory of the past. The Temeraire glows with ethereal, ghostly light, her towering masts and rigging silhouetted against the blazing sky. She appears almost spectral, embodying her illustrious past’s pride and sorrow.

Turner’s masterful use of light and colour transforms the scene into a vivid spectacle. The sky is a riot of warm oranges, reds, and yellows, blending seamlessly into twilight’s cool blues and purples. The setting sun’s reflection dances on the water’s surface while the smoke from the tugboat curls into the fading light. The vastness of the sky dwarfs the ships below, emphasizing the grandeur and finality of the Temeraire’s last voyage.

Turner and Temeraire

The HMS Temeraire played a crucial role in the Battle of Trafalgar in 1805, where she fought alongside Nelson’s flagship, the HMS Victory. She became a national hero, and her name was synonymous with bravery and valour. Turner’s painting immortalizes her in a dignified farewell, paying homage to her storied past. The symbolism in the painting is rich and layered. The small, dark tugboat represents the relentless march of progress, towing the old warship toward her final fate. The blazing sunset reflects the end of the sailing era, while the rising moon on the left hints at the dawn of a new age.

Turner’s use of light creates a sense of drama and poignancy. The Temeraire is bathed in the golden glow of the setting sun, emphasizing her faded glory. The painting’s composition draws the eye from the tugboat to the Temeraire and finally to the vast expanse of sky, suggesting a journey from the material to the ethereal.

Room 41: The Water-Lily Pond by Claude Monet

Making our way to Room 41, we enter a room surrounded by some of the most mystifying paintings from world-renowned artists. But now, let us draw our attention towards the Water-Lily Pond by Claude Monet. Monet paints his lush garden at his beloved home in Giverny. Claude Monet lived in Giverny for over 40 years, and this was his artist’s sanctuary and creative haven. The lush gardens he meticulously cultivated inspired his later work, particularly the iconic Water Lilies series. Giverny allowed Monet to immerse himself in the beauty of nature and translate his unique vision onto canvas, making it central to his artistic legacy.

In the center of the painting, the curved green bridge is reflected in the calm water, framed by a cascade of willow branches that drape softly from above. The pond is a riot of colour, with water lilies floating like delicate jewels on the surface, their petals catching the sunlight in shades of pink, white, and yellow. The water shimmers with reflections of the sky and surrounding foliage, creating a mesmerizing interplay of blues, greens, and purples.

Monet’s loose, expressive brushstrokes lend a sense of movement and spontaneity to the scene, as if the lilies and leaves are gently swaying in the breeze. The layering of colours and textures adds depth and richness, drawing the viewer’s eye from the vibrant foreground to the dazzling light in the background. The painting exemplifies Monet’s fascination with capturing the fleeting effects of light and atmosphere. 

Room 41:  The Umbrellas by Pierre-Auguste Renoir

Another painting in this room is The Umbrellas by Pierre-Auguste Renoir,  a bustling, vibrant scene that immerses viewers in the everyday life of 19th-century Paris. We enter a crowded street on a rainy day, where a sea of umbrellas creates a kaleidoscope of grays and blues. The scene is alive with movement, yet Renoir’s deft use of colour and composition brings order and harmony to the chaos.

In the foreground, a stylish young woman in a striking blue dress and a neatly tied hat stands confidently amidst the crowd. She holds her umbrella with one hand while holding her daughter’s hand in the other. The little girl dressed in a matching blue coat and bonnet clings to her mother’s skirt, peering shyly out at the viewer.

In front of her, a woman caught without her umbrella balances a basket of fruit on her hip. Her serene expression and upright posture contrast the hurried, umbrella-clad figures around her. In the background are a group of figures, blurred and faceless in their hurry, each holding an umbrella. A well-dressed man in a bowler hat offers his arm to a lady while another figure raises his umbrella against the rain. The hurried, indistinct crowd creates a sense of depth and movement that draws the eye into the painting.

Colours in Renoir’s Artwork

Renoir’s use of colour is masterful. Cool blues and grays dominate the palette, punctuated by the bright splash of the woman’s blue dress and the warm tones of the child’s bonnet and basket. The umbrellas are painted in broad, loose strokes, creating a rhythmic pattern across the canvas that unifies the composition. The Umbrellas are unique in Renoir’s body of work because they reveal a transition in his style. The right side, with the serene woman and child, reflects his earlier, more Impressionist approach, characterized by softer lines and a luminous palette.

In contrast, the left side, with its crisper outlines and more muted colours, shows the influence of his later “Ingres period,” where he adopted a more classical style. The painting’s composition cleverly divides the scene into two halves, creating a visual dialogue between the Impressionist and classical elements. The crowd’s rhythmic movement, combined with the balanced contrast of colours, gives the painting a sense of unity and harmony despite the chaos of the rainstorm.

Room 43: A Wheatfield with Cypresses by Vincent van Gogh

Room 43, to the west, is one of the best collections of works of art from my favourite artist, Vincent van Gogh. There are so many different paintings from different periods of his life to see here, and while many people float to look at Sunflowers by Vincent van Gogh, I think there is so much more about the great artist to learn from the A Wheatfield with Cypresses. This painting brings you into Provence, stepping into a golden wheatfield under a swirling summer sky, where cypress trees and rolling hills frame the scene, creating a vivid snapshot of the French countryside where Van Gogh spent the last few years of his life.

In the foreground, the rippling wheat undulates in shades of gold and ochre, leading the viewer’s eye toward a trio of cypress trees that stand tall and dark against the bright sky. The distinctive, flame-like shapes of the cypresses are echoed in the swirling clouds above, creating a rhythmic interplay of movement and colour. The backdrop of the Alpilles mountains adds depth and drama to the composition. 

Van Gogh’s characteristic brushwork is evident in the bold, rhythmic strokes that convey the movement of the wheat and the swirling sky. His use of contrasting colours—bright yellows against deep greens and blues—creates a striking visual impact and captures the intensity of the summer heat. A Wheatfield, with Cypresses, was painted in 1889 while van Gogh lived at the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence. Despite his troubled mental state, this painting reflects a sense of optimism and vitality, showing his deep connection to the landscape around him.

Room 43:  Bathers at Asnières by Georges Seurat

Also found in this room is Bathers at Asnières by Georges Seurat. Seurat was only 24 when he painted Bathers at Asnières, his first central canvas. Despite its groundbreaking technique, the painting was rejected by the Paris Salon and instead exhibited at the Groupe des Artistes Indépendants. Seurat’s technique, known as pointillism, is characterized by applying tiny dots of pure colour, which blend together when viewed from a distance. This creates a luminous, shimmering effect that brings the scene to life. The river glistens with blue, green, and white reflections while the dappled sunlight plays across the grass and the bathers’ skin in delicate shades of yellow, orange, and red. Today, it is considered a masterpiece of early Neo-Impressionism. An important message to everyone is never to accept defeat when faced with rejection. 

In the foreground, a young man sits on the riverbank, his feet dipped into the cool water as he gazes across the river. Beside him, a boy lies on his stomach, idly making noises with a reed. A shirtless man in a straw hat rests his chin on his hands, watching the steamers pass by.

Further to the right, a group of boys wade and swim in the river, their laughter echoing through the warm summer air. In the background, factory chimneys rise against the blue sky, hinting at the industrial activity of Paris just beyond this tranquil scene. The soft silhouettes of boats and bridges blend into the hazy horizon, creating a seamless transition between the natural and urban landscapes.

Room 45: The Execution of Lady Jane Grey by Paul Delaroche

The last painting we will see today is my favourite: Paul Delaroche’s The Execution of Lady Jane Grey. It is a haunting and poignant portrayal of one of English history’s most tragic events. Lady Jane Grey, known as the “Nine Days’ Queen,” was an English noblewoman who briefly occupied the throne of England in July 1553. Born into a politically influential family, she was manipulated by ambitious relatives and political figures who sought to prevent the Catholic Mary Tudor from ascending the throne. Following the death of Edward VI, she was declared queen under a dubious will, but her reign lasted only nine days before Mary gathered enough support to depose her. Despite her reluctance to claim the crown, Jane was charged with high treason and executed in February 1554 at the age of 16. Becoming a tragic symbol of political intrigue and the turbulent Tudor succession.

In this painting, we enter a dimly lit execution chamber, where Lady Jane Grey, the “Nine Days’ Queen,” prepares to meet her fate. The scene is shrouded in darkness, illuminated only by the soft, focused light that falls upon Jane, highlighting her innocence and vulnerability. In the center of the composition, Lady Jane stands blindfolded, her delicate hands groping for the execution block.

She is dressed in a simple white gown that glows against the sombre background, symbolizing her purity and youth. She expresses resignation and fear but maintains quiet dignity as she kneels before the block. Behind Jane, a woman—perhaps her lady-in-waiting—buries her face in her hands, unable to watch the tragic scene unfold. Another attendant faces the wall, unable to face the event. To the right, the executioner waits. His axe rests beside him, partially hidden in shadow, adding to the ominous atmosphere. 

Delaroche’s Approach

The stark simplicity of the setting—a stone floor covered in straw and dark, blurred walls—focuses all attention on the figures and their emotions. Delaroche’s masterful use of light and shadow creates a dramatic chiaroscuro effect, emphasizing the tragic tension of the moment. The soft light that bathes Jane’s figure enhances her ethereal beauty and innocence, while the shadowy surroundings evoke the grim reality of her fate. Paul Delaroche painted The Execution of Lady Jane Grey in 1833, almost 300 years after her death. The painting was considered lost for many years after being removed from public display in the mid-19th century, only to be rediscovered and restored in the 1970s. Today, it remains one of Delaroche’s most famous works.

The National Gallery in London offers a captivating journey through centuries of artistic genius. From the soft, shimmering brushstrokes of Monet’s Water-Lily Pond to the dramatic contrasts in Caravaggio’s Supper at Emmaus and the poignant tragedy of Delaroche’s The Execution of Lady Jane Grey, each masterpiece tells a story that resonates across time, offering a glimpse into the rich history of art. With this self-guided tour, you’ll discover the gallery’s most iconic works and hidden gems, uncovering a rich tapestry of human creativity that makes the National Gallery such a treasure trove of art.

Happy Travels, Adventurers

The post Ultimate Self-Guided Highlights Tour of London’s National Gallery 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.