Part of my never attending a Renaissance Fair was because there wasn’t one in my hometown. I simply never happened across one. I would have had to travel to New York or southern Ontario to find the closest Ren Faire. The other reason was I simply felt like the older I got, the harder it would be to “fit in.” I thought everyone who went would be old-timers. And the attendees would be overprotective of their event, and newbies would be less welcome. Literally, nothing could have been further from the truth. I have never felt so welcome in my life than attending my first Renaissance Fair as in my beloved home away from home of Phoenix, Arizona.

Finding Joy at the Ren Faire

The Arizona Renaissance Fair was one of the most fantastic experiences I’ve ever had. Having lost my mom a few months ago, I was there with my dad to bring a bit of joy back into our lives. And this was the absolute best decision we could have made. For one day, we got to be someone else. Live in a different world full of excitement and wonder. And just absorb all the amazing vibes that were all around us. I wish so much I had gone to my first Renaissance Festival years.

But in truth, I just didn’t know what to expect or what it was all about. Attending a Renaissance Festival for the first time can be an exhilarating and memorable experience. However, with so much to see and do, it can be overwhelming to know where to begin. In this guide, we will help you make the most of your first Renaissance Festival visit.

Table Of Contents

1. What is a Renaissance Fair?
2. What to Expect
3. Arizona Renaissance Fair
4. How Large are the Fairgrounds?
5. How Much Does it Cost?
6. Where to Find Your Nearest Ren fair
7. Parking 
8. What's Included in Your Admission?
9. Extra Costs
10. Essential Tips
11. Where to Spend That Extra Cash!

What is a Renaissance Fair?

The first official Renaissance Festival was held in 1963 in California. It was started by a schoolteacher Phyllis Patterson who wanted to create an immersive event to teach his class about medieval times. But the event caught on, and it quickly gained popularity. Spreading to other states across the country. Today, there are over 100+ Renaissance fairs are over the world, but most of them are located in the USA.

So what is a Renaissance Fair? In essence, a Ren Faire is an event that attempts to recreate the sights, sounds, and experiences of the “Renaissance” era. This generally refers to the period in European history from the 14th to the 17th century. At a Renaissance fair, visitors can expect to see performers dressed in Renaissance-style clothing, enjoy live music, and watch demonstrations of old-time crafts and skills such as blacksmithing, glass-blowing, and archery. All this occurs outside, set amongst permanent buildings designed to resemble structures from the medieval period.

Many Renaissance fairs include jousting tournaments, theatrical performances, and historical reenactments. Throughout the fairgrounds, visitors can purchase food and drink from vendors. This includes historical food as well as modern consumables (aka cappuccinos.) All visitors are encouraged to dress up in costume, be that historical garb or anything that suits their fancy. A day out at the Ren fair is all about make-believe and expressing yourself. 

What to Expect

While every Renaissance fair might be slightly different, there are generally some overarching themes and tropes that take place across the board that you can expect to get out of visiting the Ren fair. From the moment I walked into the fair, I was almost overwhelmed by the sheer amount of immersive artistry surrounding me. I had only seen a few pictures of the Renaissance Fair online and didn’t know what to think. The images I’ve seen made it seem cheesy and a bit like the theming you’d find at a Midway or state fair. But I couldn’t have been more wrong. If you’ve ever been to Medieval Times, that pales compared to the gorgeous amount of theming at these Renaissance fairs. It honestly felt like a Disney level of art and design. 

Arizona Renaissance Fair

The Arizona Renaissance Fair is explicitly located in…well, Arizona. Unlike most other Renaissance Fairs in the United States, this one is set in the desert. Most other Ren Fairs are set out in the forest, surrounded by a canopy of trees. I was initially concerned about this lack of forestry. The trees add an almost ‘Robin Hood’ type vibe to the immersion. But honestly, I was amazed by how the desert setting lent itself to that medieval era. Being barren made the buildings stand out, and you could appreciate them all the better. Plus, there were no signs of the modern world all around you. Save for the occasional plane flying overhead. 

Music at the Fair

Another thing that immediately sets your senses light when you walk in the gates is that you can hear music almost everywhere you go. And this isn’t music being pumped in from an audio system over loudspeakers. This is live music played by some incredible historical musicians throughout the park. Some of them play instruments I had never even seen before. Appropriately, some bands specialized in pirate shanties played on violins, and harpists enchant you with their fairy-like melodies. Just wandering the entire park is all you need to do to have a great time. You’ll suddenly hear a song floating through the air and chase after it to find where it’s coming from. Only to discover an old man and his lute weaving a spell across a quiet glade. 

Performers & Entertainment

Music is definitely one of the most important pieces of entertainment that you’ll find on the schedule, but in addition to this, you’ll also find an array of different live performers on various stages spread throughout the park. This includes comedy skits, acrobats, dancers, jugglers, stilt walkers, actors staging impromptu sword fights and more! 

A building held a mermaid tank where a “real-life” mermaid swam in the water. It was like watching something from a fairy tale. Occasionally she would pop out of the water to breathe fresh air, spitting water down upon a surprised audience smiling at the children only to dive back into the water and blow them a heart-shaped bubble kiss. 

We walked by a woman dressed as a pirate with a tiny pirate ship on stage that held a pirate crew of small dogs wearing eye patches and adorable pirate hats. She had them performing tricks much to the amusement of an enraptured young audience. 

Then there were the bawdy sword fighters who performed a slew of shocking acts combined with their quick-witted puns. I was actually surprised at how adult some of the comedy was. Most of it just went over the children’s heads, but it definitely was an interesting thing to behold in front of such young kids. My dad commented that this type of humour was done intentionally as part of medieval theming. Many medieval comedies were often filled with dirty jokes that shocked and amused the otherwise reserved upper classes. 

How Large are the Fairgrounds?

We were handed a hand-drawn map of the Ren Faire grounds when we arrived at the festival. First, the hand-drawn map was one of the cutest things I’d ever seen. The map also detailed to us that we were entering the “Village of Fairhaven,” as each Ren Faire has its one unique fairytale-like setting. What shocked me upon looking at the map was how vast this place was. I had no idea what to expect from the pictures online, but I didn’t think it would be this big! In fact, the festival takes place over 50 acres. And it isn’t even the largest Ren Faire out there! The Texas Ren Faire is 55 acres, New York is 65 acres, and the Bay Area renaissance festival is a whopping 260 acres!!!

Themed Weekends

Themed weekends are a great addition to the flavour of each weekend when the fair is open. These themes range from Viking Invasion, Shamrock Shenanigans, Pirate days, Bring Your Dog or Royal Romances. There might be special events happening on these particular weekends or different character interactions that bring forward the weekend’s theme. These themes can also give you some costuming ideas if you want to dress up!

How Much Does it Cost?

Admission to the different Renaissance Fairs depends on where you are attending. The fairs in larger, more expensive cities will usually cost more than those in smaller towns where the cost of living is lower. The Arizona Renaissance Faire in Phoenix was not only one of the lower admission prices, but the food and drinks inside were shockingly affordable!

The Arizona Renaissance festival costs $33 for adults or $22 for children. You can often find discounted ticket codes being offered in the local newspaper a few weeks before the festival begins. In California, ticket prices are $42 for adults and $22 for children; in New York, $42 for adults and $18 for children; and in Pennsylvania, $32 for adults and $17 for children. 

Where to Find Your Nearest Ren fair

You can check out this website to find the Ren Fair nearest you. But remember, just because it’s the closest doesn’t mean it’s the right one for you. Travelling out to a specific Ren Fair might make for an exciting trip. If you go to New York City, you may want to spend a day at their Ren fair. Or, like me, find yourself in Phoenix, Arizona; you can check out their fantastical Ren Fair. 

Parking 

It’s also essential to note parking prices. At the Arizona Ren Faire, parking was completely free as it was sponsored by a local grocery store. The walk from the car park to the entrance was also very short compared to other festivals. In California, parking is $12 for general admission, or you can pay $25 for VIP Parking. And in New York, there are free and paid parking options. The free parking is about a 15-minute walk from the entrance, while the $20 cash parking is closer to the door. These additional costs might be something to remember when planning your Ren Faire trip.

What’s Included in Your Admission?

Included in your price of admission are all the entertainment: the joust, parades, music, dance, interactive living history exhibits, Birds of Prey performances and craft demonstrations. 

There are also wandering characters, also called members of the royal family. These actors employed by the fair will spread the day’s news, perhaps filling in a central storyline or just greeting visitors. They will also happily take a picture with those “strange contraptions” we call cell phones.

The Joust

Speaking of the joust…this is one of the day’s major events and an event you don’t have to tip for. The fair employs all the actors and performers participating in the joust. Three different jousts occur throughout the day. And almost every other Ren Fairs follows the same format. There is the joust for royal favour, the joust of champions and finally, the epic joust to the death!

The joust is one of the festival’s most elaborate and entertaining acts. There is a storyline performed at the joust, which continues to escalate throughout the day. But much of the action is similar, so you should only choose one of the three jousts to attend. We choose the joust to the death, where performers ride their horses, get off, and perform a deadly sword fight at the show’s end.

When to Arrive for the Joust

It’s advisable to arrive a little early if you plan on going to the joust. Depending on the festival, seating for the joust is always slightly different. At the Pennsylvania Renaissance fair, the joust takes place in an area where there are three setting locations. At the Arizona Renaissance Fair, the joust is in the center of an arena with four sets of bleachers. We wanted to secure a spot where we could see everything but also wasn’t in direct sunlight. Sitting there for the entire show, you could get pretty sunburned if you weren’t careful. 

Support the Horses

Right before the joust starts, a costumed character will come out to your side of the viewing area to instruct who you will be cheering for. Often two to four different knights take part in the joust. And each will be represented under a different coloured banner. Depending on where you’re seated will inform which knight you’ll be cheering for. 

One of the things I found the most interesting is that they had various flags for sale that corresponded to the knight and his banner. I thought this would be another easy mark to get you to spend a lot of money, but these little flags only cost $5 and were a great souvenir. PLUS, all the money went to supporting the well-being of the horses. It was a cheap souvenir and a really good donation to boot!

Extra Costs

There are other additional forms of entertainment found throughout the fair that require extra means of payment. This everything includes archery and rock climbing to fortune tellers, petting zoos, pirate ships, pub crawls, fair quests and adventure games.

Artisan Shopping

Throughout the fair, you can find over 200 artisans in open-air shops and galleries, demonstrating techniques unchanged for centuries. You can find everything from clothing and costumes to candles, soaps, jewelry, artwork, weapons, ceramics, leather goods, books, and much more. 

Food & Drink

Some iconic food and drinks special to the Ren fair are turkey legs, meat pies, raspberry wine and even modern-day mead! But in addition to these more on-theme meals, there is everything from Mexican cuisine, iced coffee, fried fair goods and lots of different sweet treats!

Tipping

While the entertainment on the various stages doesn’t require additional fees, the performers will always ask for tips at the end of the show. I was surprised by the number of performers asking for tips at the end of their shows. I figured if you paid admission, surely you shouldn’t have to tip. But I learned afterwards that most of these performers rent their space at the fair and are only paid a little, if anything, from the fair itself. Therefore, tipping is highly encouraged (but, of course, not required). A simple thank you will go a long way if you don’t want or can’t afford to leave a tip. 

We saw about 4-5 acts throughout the day and tipped them each a few dollars. When I really thought about it, when you compare the enjoyment you get from an entire day out at the Ren Fair, likened to a comparable experience like Medieval Times, the Ren Fair was much more fun. Medieval Times tickets will cost an adult $45 as the base level, and there are so many add-ons they shove at you upon arrival. Most people need to drop $ 65+ to make it out. And the food could be better. Their shows are very entertaining, but they don’t even hold a candle to all the great acts we saw at the Ren Fair, including their joust to the death!

Rides

At any midway or state fair, you’ll find amusement rides dotted through the fairgrounds. But what surprised me was that every one of these rides at the Ren Faire was powered only by human force. You could take any of these rides and send them back to the Medieval Era, which would work just the same. The carousel spun round and round, with staff members running and jumping atop it to keep it spinning. The rocking horse was pushed by real people, and the fly machine was spun round and round by the arms of incredibly strong cast members. 

These rides all cost a small additional fee, but if I had come with a kid, I would put money aside solely for the uniqueness of the opportunity to ride in one of these ingenious mechanisms. Many were themed on Galileo’s contraptions or DaVinci’s flying machines. And I loved this inspiration and found it mesmerizing just to watch how they worked without using a single plug or generator. Although I can’t imagine how tough this job is, especially come the hot spring weather in Arizona.

Essential Tips

Now that you know much more about what to expect from the fair, here is a list of the most important tips I have for you as a first-timer attending the Ren Faire!

Dress the part

One of the most fun aspects of the Renaissance Festival is dressing. It’s not required, but it does add to the overall experience. Opt for a full costume or incorporate a few medieval-inspired pieces into your outfit to get into the spirit. Some popular costume options include knights, princesses, pirates, and peasants. While many people opt for period-appropriate costumes, you can dress up as anything! We saw fairies, trees ents, anime cartoons, and even people expressing themselves as an entirely unique character. Even if you just have a few small pieces to play the part and find yourself enraptured by all the costumes inside, you’ll find a plethora of vendors who sell costumes and accessories at the festival to bring your costume to the next level if you so choose. 

Renting a Costume

Maybe you don’t want to buy a whole outfit but want to dress up for the day. Almost all fairs have costume shops where you can rent an entire outfit! The rental costume shop at the Arizona Renaissance Festival was located even before you entered the gates, so you could get all dolled up before entering the Village of Fairhaven. 

Cost of Renting a Costume

Outfit rentals vary in cost depending on the location of the festival. But at the Arizona Fair, at Belrose, prices range for adult-size rentals from $18 to $65. After you select a costume, you can change into their dressing rooms and put your clothes in a provided bag which goes into your own personal box. At the end of the day, you can return, change back into your everyday clothes and return the items you borrowed.

What to (and not to) Wear

Since this was our first time attending the fair, and we didn’t know how quickly we would become enthusiasts, we opted not to spend too much money on our first costumes. And while I think, in retrospect, I wish I had gone all out, I think what we did is the best action plan for anyone going to their first time. 

An easy Peasant DIY

We found items from our closet that were even vaguely appropriate for the medieval era. This meant looking for textures or colours of clothing that were very common back then. My dad went with a peasant-type theme for his costume. This included a lot of tans and beige colours. He found an old button-up top and cut off the button. Then he used some old string from an old shoelace to lace up the front of the shirt, which was very period appropriate and an easy DIY. Then he added an extra large leather belt and a straw hat. All in all, for $0, it was the perfect first-time look.

Robin Hood/Maid Marian DIY

For my costume, I had a beautiful green velvet dress that I’ve had forever that felt suited to the fantasy setting. I decided to go with a Robin Hood meets Maid Marian outfit. This amazing brown lace-up corset belt immediately made it look medieval. Then, I layered some old leather belts around it, and the look instantly came together. I wanted to add texture to the velvet dress, so I layered a light cotton blouse/tunic underneath. I thrifted both the tunic and the belts for under $10. It really just goes to show that you can absolutely find things in your current wardrobe that can be restyled to fit the Renaissance era. 

Avoid Polyester Clothing

One thing to remember when planning your costume is to avoid buying anything made of polyester. Most of those cheap costume shop outfits are made entirely of polyester. And I understand wanting to save some money, but as mentioned above, I think DIY is a great affordable option, and polyester might not be worth it in the end… Polyester traps heat, and you’ll get sweaty and overheated on hot days in the sun. Anything made of cotton or similar breathable material is a much better choice. 

Wear Comfortable Shoes

Another key tip is to wear comfortable shoes that are well broken in. Don’t opt for something you bought for this occasion and have never walked more than a few hours in. Most fairs are spread over multiple acres. The Arizona Renaissance fair was over 50 acres large, and just wandering around was one of my favourite parts of the experience. If I didn’t have the right shoes, I wouldn’t have been able to do this. I actually found that a pair of Birkenstocks not only fit the environment really well but was also super comfortable and breathable.

If you plan on wearing a long dress, this will hide your shoes anyways. You won’t need to worry about them standing out against the rest of your period-appropriate clothing. But honestly, it’s worth sacrificing some fashion for comfort. You’ll definitely find yourself having a much more enjoyable time if you do so. 

Don’t Try to Do It all but Plan in Advance

Before arriving at the fair, go online and check to see if they’ve posted an event schedule. This will allow you to look at everything going on throughout the day, everything from birds of prey shows to acrobatic acts and sword swallowing, in addition to the dozens of different musical acts throughout the park. I was amazed at how jam-packed the day can get really quickly. You definitely won’t be able to see it all. I advise first-timers to go on the website and pick two to three performances you absolutely must see. For most people, this probably includes one of the jousts and two other shows that catch their fancy. 

One of the most interesting shows that caught my eye was a bagpipe breakfast which I absolutely adored. This was one of the first shows of the day, so we planned to be there as soon as we got inside the gates. Another show that my dad was really interested in was the sword swallower. The stage where this took place was at the far end of the fairground, so we ensured we were in the area around the time of the show. That way, we wouldn’t have to run from one end of the grounds to the other to catch it.

Ensuring we planned the timing and the locations appropriately meant we didn’t feel too overstretched or stressed. While wandering from one stage to another, we would catch various musical acts along the way, just on happenstance. And simply taking a break for food and sitting in the shade admiring the amazing costumes is a show all unto itself. You really want to have the space and time in your day for these moments of respite.

Check the Weather

You also want to check the weather before you leave for the day. Just in case it might rain, it’s good to be prepared. Especially in the desert, when the evening hits, the temperature can drop significantly, so if you see a cold evening in the forecast, you want to plan to bring some extra layers.

Turn off Your Phone 

Another tip that I found super helpful was to leave your phone behind. Or at least turn off any cellular data. That was a little easier for me because where the fair was located in Arizona, there wasn’t much signal anyways. But putting your phone away (when you didn’t need it for photos) really allowed you to get even more immersed. Yes, I did, in fact, take lots of photos with it, but I also put it away for a surprising amount of the day.

Honestly, there were some times when you just wandered around, and it really did feel like you’d walked back in time. And if I’d found myself just checking Instagram, looking at my emails or posting while there, I definitely don’t think I would have felt as immersed. Next time I think I will bring my camera, so I left my phone alone altogether. Sure, a camera is still modern technology, but at least it’s slightly more analogue than the phone.

Bring Cash!

One of the things that surprised me the most about the Ren Faire was everything was almost entirely cash only. When you walked up to the gates, this was made apparent with signs detailing the list of things that were cash only. There were a lot of ATMS outside and a few ATMs inside the fair as well, in case you missed the ones on the way in. 

Many artisans accept credit cards, but you must have cash for tipping, food and drinks, rides, and other attractions that require additional fees (like archery etc.) I rarely carry cash, so using it honestly felt like another level of immersion. It felt very antiquated to have ones and fives at the ready.

In addition to bringing cash, make sure you have it in small denominations. We only had $20 bills when we arrived, and we soon found that we needed to break this up as quickly as possible to tip the performers. You can easily do this by buying food and getting some change that way. But it’s good to bring some dollar bills with you, so you have some already.

Coin of the Realm

Some of the larger Renaissance Fairs have implemented a new payment system: called “Coin of the Realm.” Essentially coin of the realm is a physical coin that represents an amount of money you exchange for it. This is done by swiping your credit card and selecting the amount of coin of the realm you want to buy. Once you have these coins, you can use them anywhere throughout the fair, just like real cash money. If you buy something that costs $8 and use a $10 coin of the realm, they’ll give you $2 cash in return. 

If you don’t use up all your coin of the realm by the end of the day, you can simply go back to the kiosk, and they will refund you that amount in cash. Or you can keep the extra coins of the realm as a souvenir. This is mainly done for people who don’t want to use an ATM because they don’t want to pay the steep ATM fees. And perhaps don’t pay fees to use their credit cards. Plus, using these coins feels really immersive, and I think I would get some just for fun!

Try ALL the Themed Food

Renaissance Festival food is a unique experience in itself. There’s something for everyone, from giant turkey legs to roasted nuts and mead. Don’t be afraid to try new foods or indulge in some of the festival’s signature treats. Just be sure to bring some wet wipes or hand sanitizer, as eating with your hands is often encouraged.

One thing that really surprised me about the Phoenix Renaissance Fair was the food price. I know this isn’t true at many of the other larger Renaissance Fairs, but the food at the Phoenix Renaissance fair was extremely affordable. This made me so happy because it allowed more people to come to the fair to enjoy themselves without this huge financial barrier to entry. At least when compared to the price of food at baseball games, for instance.

You cannot bring in outside food, so you are forced to eat inside the festival. Therefore the fact that the food is a little more affordable inside seems only appropriate. I picked up a large iced coffee for almost half of what I paid at Starbucks. It was even more delicious! 

I’ve heard that places like the New York Fair need to keep up with the cost of rental spaces in New York, so the food there is much more expensive in places like that. This might factor into your planning process when considering where to attend your first Renaissance festival. Phoenix may not have originally been at the top of your list, but if you know you’ll be paying much less for food and drink, that might give you a bigger reason to come here over more expensive cities like New York City or Los Angeles. 

Interact with Performers

One of the best parts of the Renaissance Festival is the interactive performances. Be sure to catch a show or two and interact with the performers. They are often dressed in costume and are happy to answer questions about their craft. Additionally, don’t be afraid to participate in a group dance or learn a new skill from a performer.

Shop the Artisan Markets

The Renaissance Festival is home to many talented artisans, selling everything from pottery and jewelry to leather goods. Take some time to wander through the vendor booths and find unique souvenirs and gifts to take home.

Glass Blowing Demonstrations

One of the souvenirs that I took home from the fair was a piece of hand-blown glasswork. We stopped to watch the glass-blowing presentation. Not only was it so informative, but it was also amazing to see that the art of glass-blowing hasn’t changed almost at all in over 500 years. The only modern technology they use is a gas line to keep the fires burning instead of using wood. Watching these artisans at work, we got a glimpse into the hard labour and artistic talent it takes to create these pieces made of glass. When I picked out my beautiful glass flower as a souvenir, I was taking home with me not only a piece of their craftsmanship but also a cherished memory from the festival.

In addition to the artisanal shops throughout the fair, there is also a Ren Faire gift shop. These stations are often found inside the gates, so you’ll see them as you enter and leave. They sell everything from t-shirts with the Renaissance Fair logo to other souvenir items to memorialize your visit. I returned with a handmade clay mug with the Arizona Renaissance Festival logo, and it’s my new favourite coffee cup!

Stay Hydrated!

Renaissance Festivals can be hot and crowded, so staying hydrated is important to remember throughout the day. Check the website for the specific Ren Faire you will be attending to find out if you can bring in sealed water bottles. While they don’t let you bring in outside food and drink, most fairs will make an exception for water. Other Fairs will allow you to bring in an empty reusable water bottle you can fill up at various locations throughout the grounds. 

Protect Yourself from the Sun

Hydration is half the battle against the heat from the sun. Apply lots of sunscreens or even bring a large hat to keep cool. Since the Ren Faire enters outdoors, you’ll want to ensure protection. In fairs like New York or Pennsylvania, where they take place under the trees, you’ll find it is a little more shaded but not entirely. And even in the shade, you are still at risk of sunburn.

Arrive Early!

We set out to arrive at the festival slightly before the gates opened at 10:00 am. What we didn’t expect was the huge line of traffic formed solely by other attendees trying to get to the festival! We still arrived just before ten, but unfortunately, we found about a 45-minute lineup to get inside. We didn’t get in through the gates until just before 11 am. This was still plenty of time to enjoy every show we planned to see, but we missed the opening ceremonies.

If you’re dead set on getting inside the fair at the opening, I would advise arriving about an hour to 30 minutes before the gates open. We were chatting with a couple of the employees, and they said lots of people arrive as early as 8 am and have a little tailgate party in the parking lot. They bring some coffee and get into costumes while meeting with their Ren Faire friends, who all come together yearly for this special event!

This kind of enthusiasm is infectious, and even just waiting in line, we had a great time observing everyone’s costumes and chatting with all the locals who had been to the festival dozens of times before. They couldn’t wait to share with us their advice and expertise. I never met anyone unwilling to chat with me if I had questions. No one seemed like they were trying to gatekeep this event. If anything, they were only trying to encourage more people to come. To grow the festival so there are more vendors, food, entertainment, and things to enjoy.

Where to Spend That Extra Cash!

I paid for a few additional activities I wanted to share since I felt they were worth the extra money. Aside from the food and drink of course which were highly recommended!

Archery

The first was archery. I’d never shot a bow and arrow before and was so excited to finally try it. And this felt like the PERFECT place to give it a go. I’ve seen archery booths at our local state fair and always found them overpriced. But here you got 12 arrows for just $6. You could take as much time as you wanted to have fun and compete against your friends and family.

It was honestly so much fun. We laughed the entire time as we learned how to use the bow. And screamed with excitement when one of us would get a good shot. I felt like Robin Hood, especially with my outfit that day. It was worth the money, and I think it would be even more enjoyable with the kids. They had both an adult and kids section. The kid’s area was closer to the target with small bows.

Blacksmithing

Another super interesting experience was the blacksmith forge. Here you could buy a small knife and schedule an appointment to work with a real blacksmith to forge a custom knife with some personal carvings. The experience was about $40, and you got to use these amazing dragon forges where the heat came from the dragon’s mouth! It was so cool, and even if you didn’t want to spend the money, you could sit in the audience and simply watch others at work!

Umbrellas 

As mentioned, all Ren Fairs occur in summer and early fall (or the springtime in hotter areas like Arizona and California.) Since the Ren Fair is entirely outdoors, this is scheduled to attempt to ensure the weather is dry. While the fair is held rain or shine, many events, like the joust, can be difficult or cancelled due to the weather. And no one really like walking around in the rain all day. What that means is that you’ll often be out in the sun all day long. So one of the souvenirs I found to be very practical (and beautiful) to buy were these gorgeous paper umbrellas.

Paper umbrellas are something I’ve been seeing more and more people using on vacation in the summertime. I first started seeing this trend primarily in Japan, where people really try to avoid getting sun on their faces. But I’ve seen it being implemented increasingly more frequently in other countries. All of us are learning more about how bad sun damage is for our complexion, and these fabulous fashionable paper umbrellas make avoiding the sunlight all the more chic!

A Personal Tankard

One thing I saw a ton of people wearing on their belts were these gorgeous tankards. They fit through your belt; some people even had custom leather tankard holders to carry their mugs. You can use these throughout the day to drink your more modern beverages, but look the part while doing so! These tankards are for sale throughout the fair. Some are made entirely of wood, which is absolutely beautiful, and if you have the skill and patience to ensure they’re cleaned and maintained properly, I think these could be beautiful additions to your kitchen. Other are more traditional metal tankards with gorgeous fillagree decorations around the handle.

Elf Ears

While I think I would skip on things like face painting and hair braiding (mostly because the lines were always super long), a special costume addition that I think is worth the money is custom-fitted elf ears. These elf ears are sized and painted just for you, and the artisans who make them will even glue them to your ears so you can wear them all day in the park. There are different varieties of ears; some are smaller and more dainty, while others are theatrical and will draw the attention of everyone you pass! After you’re done wearing them in the park, you just need to remove and clean them before using them again. Buy some spirit gum or body-safe adhesives, and you can use these over and over again. Definitely worth the money and such a cute thing to add to your costume. 

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They also had wire elf ears that you could buy that fit over your ears like a piece of jewelry that only cost between $25 and $30 and looked absolutely gorgeous. This is definitely something I can see a lot of more alternative fashion people wearing every single day and isn’t something I’d seen anywhere else. These kind of treasures are what makes shopping at the Ren Faire so much fun!

All in all, I’m thrilled I finally pulled the trigger and visited the Arizona Renaissance Festival! After years and years of never making it out there, I can’t believe I waited this long. Hopefully, this blog post helped dissolve any hesitation you might have in making your trip out and becoming a Ren-head like me! If you’re a seasoned visitor, let me know any tips I might have missed or advice you want to share with others.

Huzzah Adventurers!

The post The Ultimate First Timer’s Guide to the Renaissance Festival 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.

Table Of Contents

1. Hours and Admission
2. History of Santa Croce
3. Exterior of Santa Croce
4. Layout of the Basilica
5. High Altar
6. Bardi Chapel
7. Peruzzi Chapel
8. Baroncelli Chapel‎ 
9. Castellani Chapel
10. Sacristy
11. Rinuccini Chapel
12. Medici Chapel
13. The Pazzi Chapel
14. Primary Cloister
15. Cloister Tombs
16. Secondary Cloister
17. The Museo dell' Opera di Santa Croce

Hours and Admission

The entry in Santa Croce is much less of a trial than visiting the Duomo. After viewing the exterior, to enter the interior and purchase your ticket, walk along Largo Bargellini, the street to the left of the church, and you’ll see the single and family entrance along the side.

Hours:

Monday – Saturday: 9:30 am – 5:30 pm
Sundays and Holy Days: 2:00 pm – 5:30 pm (
Closed: New Year’s Day (January 1), Easter, St. Anthony of Padua (June 13), St. Francis (October 4), Christmas (December 25), St. Stephen’s Day (December 26).

Tickets:

Adults: €8
Kids aged from 11 to 17 years: €6
Audio Guides: €4

Access

Santa Croce is located in the heart of Florence. If you are arriving by train, at the Santa Maria Novella railway station, can easily reach it on foot with a walk of about 20 minutes through the historic centre. The visitors’ entrance and ticket office are in Largo Bargellini, along the side of the basilica.

History of Santa Croce

The first stone laid here was said to have been placed by St. Francis himself in 1228 BC. This Basilica has the honour of being the largest Franciscan church in the world! There are 16 chapels inside, many illuminated by the frescos of the legend Giotto himself. Construction on the church began in 1295 by Arnolfo di Cambio, the same architect as the Duomo. Its construction wouldn’t be completed until 1442, when it was consecrated by the Pope.

Exterior of Santa Croce

The exterior, however, is much more “modern” as it was built in 1860, during the Gothic revival period. Looking at the exterior facade, there are several similarities to that of the Duomo. It uses the same combination of white, pale green and red marble but in a more restrained fashion, as was the Franciscan way. The central portal of the church has a large pair of doors with beautiful carvings made out of wood instead of bronze. The architect of the facade was Niccolo Matas, who was, surprisingly enough for a Franciscan church, Jewish. He even designed a large blue Star of David to crown the church’s top as his little signature.

The church has three separate tympanums across the front. A tympanum is a semi-circular or triangular decorative surface over an entrance or door. The central one features an image of the ‘Triumph of the Cross‘ by Giovanni Duprè. The one on the left depicts the ‘Invention of the cross‘ by Titto Sarrocchi, and on the right, we have the ‘Vision of Constantine‘ by Emilio Zocchi.

Layout of the Basilica

The floorplan of the church is designed in the shape of an Egyptian “T” called the tau cross. This differs from the traditional Roman “t” cross design as the Franscians use the Egyptian tau as their symbol. The interior is a three-aisle design divided by two rows of thick octagonal columns. Between the columns are wide, pointed arches, which house the side family chapels. This design was heavily influenced by Cambio’s research into the architecture of ancient Rome, as was the fashion in the Renaissance.

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Timber Ceiling

The ceiling is unique since you can admire the timber roof, replete with geometric patterns. The beams were painted in the 14th century, yet you can still make out the vibrant colours today! Along the walls of the Basilica are a series of tall and thin stained glass windows. Enter through the left portal to explore this part of the church, making your way around the interior clockwise.

The funerary monuments are one of the most macabre yet beautiful elements of Santa Croce. The church also goes by the nickname ‘The Temple of the Italian Glories’ because it is the resting place of so many incredible Italians. Over 300 tombs throughout the church date as far back as the 14th century. There are both tombs for the dead buried here and statues dedicated to those buried elsewhere. Many affluent families wanted to pay tribute to their favourite celebrities. So they would commission a funerary monument to be built for them inside this illustrious temple.

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Galileo Galilei

One of the first of these tombs is Galileo. Yes, THE Galileo! Galileo Galilei, the famous father of modern science, died in Florence in 1642. He was buried here under a grand baroque tomb. Above the monument is a burst of famous scientists in the centre. His head is raised to the sky, always looking at the stars. On either side of him are sculptures which represent Geometry and Astronomy.

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Lorenzo Ghiberti

Further up ahead is the tomb of Lorenzo Ghiberti, one of the most celebrated bronze smiths in Florence. He was the one who created those iconic Baptistry doors, making him a legend. But despite this fame, his resting place is slightly less opulent. There is only a simple stone marker on the floor. It is embellished only with an image of a great eagle surrounded by laurel leaves.

The Incredulity of St Thomas

Most of the large framed paintings which you’ll see as you walk along the side aisles were the curation and sometimes creation of Giorgio Vasari. In 1565, as of the initial construction of the church, Cosimo Medici wanted to redress it to make it a little more opulent. He employed Giorgio Vasari as his artist advisor. Vasari was the one who decided the narrative program of the paintings. He chose the subject of Christ’s passion, and each mural along the wall follows this narrative.

The painting of the Incredulity of St Thomas was done by Vasari himself. Vasari painted it in 1579 in the style of Mannerism which was popular in the late Renaissance. Mannerism exaggerates the qualities that the Renaissance emphasized, such as proportion, balance, and ideal beauty. In the centre of the painting, we find Christ and St. Thomas framed between two arches. The two sides get continuously darker and darker as they fade outwards, keeping the focus on these two central characters.

Pietà by Bronzino

Agnolo Bronzino was the court painter for Cosimo I de Medici. His painting of the Pieta, framed here in a thin golden frame, is fantastically real. The blue-coloured flesh is so lifelike that you feel almost sick looking upon it. Mary’s pained expression is heartbreaking as she looks upon her lifeless child.

Pipe organ

The church’s organ is a rather small, modest instrument compared to some grander organs in Europe. It was built by organ builder Tuscan Onofrio Zefferini in 1579. The case which surrounds the entire organ’s frame was made by Vasari.

Bardi Chapel

Many side chapels were purchased by wealthy families to dissolve their sins through financial transactions to the church. The Bardi family was one of the most prosperous merchants and banking families in Florence and thereby had a lot of crimes to dissolve. But this work of art would not save them from ruin in the mortal realm. In 1343 they lent the equivalent of 100 million dollars to the King of England during the hundred years’ war. When they lost and couldn’t repay the loan, this bankrupted the Bardi’s and left them in complete financial ruin.

But the frescoes and chapels we’re looking at were built during the height of their reign. The chapel was commissioned by a branch of the Bardi family, the Bardi di Vernio. There are two Bardi di Vernio chapels, the most important of which is located on the northern side. While the iconic Bardi Chapel was painted with frescoes by Giotto, this chapel has murals by Maso di Banco. Despite his less household name, Banco’s frescoes were so well done that Vasari mistakenly thought they were by Giotto when he first saw them. The chapel also contains a wooden sculpture of two angels designed by Giorgio Vasari.

Saint Sylvester

The murals inside this chapel depict the story of Saint Sylvester. Saint Sylvester, who became Pope, has a very fantastical legend. In the frescoes, you can see Emperor Constantine being baptized by Sylvester, the miracle of Sylvester’s resurrection of the bull and, most surprisingly, Sylvester’s defeat of the dragon! That’s right, he was said to have slain a dragon. And the resurrection of the two wizards the dragon killed with his breath. Fantastical indeed.

Crucifix by Donatello

But one of the most important art pieces inside the chapel is the Crucifix by Donatello. This crucifix was made in 1408 and imbues within that powerful Renaissance style. Donatello relied on raw human emotion and natural forms to create his cross. This figure does not attempt to be both beautiful and holy. It is more like a real-life portrayal of what it would have looked like to be crucified. Contorted, in agony, mouth open, his body twisted in an awkward position. It made the people who looked upon it react powerfully, as they could see themselves in the sculpture.

High Altar

The high altar is located inside Major Chapel, right in the centre of the church. Whereas the rest of the church doesn’t have the same lofty heights as other gothic churches of the era, the high altar soars above the rest of the building. Wonderfully embellished umbrella ribs in the vaults help this narrow centrepiece keep its structure and shape. Long, thin-mullioned windows stretch up the entire length of the Maggiore Chapel. The colours in these stained glass windows are brilliant and cast rainbow hues across the church.

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Legend of the True Cross

Covering this space are frescoes depicting the Legend of the True Cross by Agnolo Gaddi from 1380. This story is the earliest surviving painting on this subject. The story is based on the legend of the cross on which Jesus was crucified. It’s said that the cross was made from a tree planted over the grave of Adam. The tree grew from the seeds of the original tree of sin. After years of growth, it was torn down by King Solomon to be used to make a bridge. The Queen of Sheba was given a message about the impending doom this wood would be transformed into. Although Solomon would rip it up afterwards, it was still salvaged and eventually became the instrument of passion. The frescoes can be read from top to bottom on the right wall and on the left.

The polyptych of Madonna and Saints by Niccolo di Pietro Gerini was also painted in the same style as Giotto. A polyptych is a panel painting which has been divided into sections. Along the back walls are stained glass windows representing the Deposition from the cross. These were created from drawings made by Lorenzo Ghiberti in the 14th century.

Bardi Chapel

Giotto had previously painted a fantastical masterpiece in the Church of Assisi, and the Bardi’s were anxious to have one of their own. Giotto’s six scenes in this chapel depict the ‘Life and Death of St. Francis.’ This piece was painted in the 1300s but heavily restored in the 17th and 19th centuries. The restoration was poor. It didn’t allow viewers to understand which part of the fresco was done by Giotto and what restoration work was done by less trained hands. So after much consideration, the restoration pieces were removed, and the original artworks by Giotto were the only parts left. This is why the fresco still looks unfinished. Giotto was one of the first artists of the Renaissance to propose a method of painting which focused on accurate proportions and shapes. His face looked like real people that the citizens of Florence could relate to.

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Peruzzi Chapel

Peruzzi Chapel with frescoes by Giotto represents the scenes from the lives of St. John the Baptist and St. John the Evangelist. Although these are now pretty faded, they retain the artistry and shapes of those medieval principles. The frescoes are in such a state because when Giotto made them, he was experimenting with a new technique called secco. This technique combined lime and an organic binder with the paints to be applied upon the walls as frescoes. While secco was easier to use, it did result in a less long-lasting and pigmented mural. The chapel was known to be one of the significant influences on Michelangelo 140 years after Giotto first painted it. It was said that Michelangelo would come here to be inspired just a few years before he painted the Sistine Chapel.

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Baroncelli Chapel‎ 

Turning towards the southern walls, you face the Baroncelli Chapel‎ in splendour. The chapel was built in 1338 and is covered in frescoes by Taddeo Gaddi. Gaddi worked directly under Giotto as the master’s apprentice. But Gaddi wasn’t one to simply follow the traditional path. He loved pushing the limits, experimenting and trying new and exciting methods. One was his use of geometry and perspective to create almost three-dimensional illusions inside his paintings.

The frescoes focus on the life of the Virgin Mary and Jesus’ presentation at the temple in Jerusalem. Many of these scenes take place at night, a unique choice at the time to present paintings in the evening when the background is dark. But Gaddi loved a challenge, and his scenes at twilight capture a shining brilliance which feels so unique to the art form at the time.

Castellani Chapel

Adjacent to the Baroncelli Chapel‎ , we find the impressive Castellani Chapel, immediately notable for the enormous Byzantine cross which hangs at the back of the chapel. The chapel was built in 1385 and commissioned by Vanni Castellani. The chapel and its frescoes are dedicated to Saint Anthony, the abbot. Anthony is thought to be the father of monks and the monastic lifestyle. They believed his ascetic and isolated life led to a better connection with God.

Sacristy

From the last chapel along the eastern wall, head through the corridor which leads to the sacristy. You’ll pass through a long corridor with various famous works of art that didn’t find their way into a family chapel. Upon stepping into the hallway, take the first left into the sacristy. A sacristy is a room for keeping vestments, other church furnishings, and sacred vessels. The sacristry was built in 1340 and commissioned by the Peruzzi family.

The room is distinctly gothic, with richly painted trusses on the ceiling. Surrounding the rest of the room are large wooden cabinets which contain various vestments and sacred relics collected by the church. But treasures inside the sacristy are overshadowed by an enormous fresco by Taddeo Gaddi. It took over 60 years for the entire piece to be completed, and Gaddi died before seeing it. The richly painted frame surrounding the panels looks straight out of an illuminated manuscript.

Rinuccini Chapel

Inside the sacristy, you’ll find the elaborate Rinuccini Chapel. This is one of the best-preserved parts of the church. The Rinuccini Chapel is in nearly the same condition as it was in the 14th century, with the same furnishings. The golden polyptych is silhouetted perfectly by the light pouring in through the gothic windows. On the right, we find frescoes that present Mary Magdalene’s life. On the left, we have murals depicting the life of the Virgin Mary, both painted by Giovanni da Milano. These frescoes are much paler than some of their counterparts found within the church. Giovanni da Milano found that warmer, softer colours allowed for more delicate storytelling, which felt appropriate for these two women.

Medici Chapel

After exploring the sacristy, continue walking down the corridor before leaving this area to see the famous Medici Chapel. This 15th-century family chapel was designed for the wealthy Medici family, commissioned by Cosimo, the Elder and designed by the family’s favour architect, Michelozzo. Entering this chapel, you’ll immediately find it much less colourful than the other chapels inside the church. It feels more restrained but is very large in comparison, complete with over a dozen pews.

The chapel is dedicated to the Medici’s patron saints Cosma and Damiano. These two saints were doctors, and the word in Italian for doctors is “Medici.” It seems like the Medicis picked a patron saint based solely on vanity. Above the altar is a beautiful terracotta glazed piece of the Madonna and Child surrounded by angels and saints. Above the altarpiece is a stained glass window by Alesso Baldovinetti with the image of the two patron saints. They are notable as each of them holds in their hand a feathered pen, representing their learned profession.

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Annunciation by Donatello

Walking back outside to the main church, we now head down the right side of the nave to study the monuments located there. Along the wall, you’ll notice a small, grey stone bas-relief. This little scene of the Annunciation was made by Donatello in 1433. Donatello had been studying in Rome when he created this piece. The ancient Roman columns on either side indicate the influence of the ancient city upon the artist’s works. The entire scene seems to take place inside a Roman building, almost as if we are peeking at them mid-conversation. I especially love the little rust-coloured cherubs who playfully listen above the entire frame.

Niccolò Machiavelli Tomb

Niccolò Machiavelli was an Italian diplomat, politician, historian, philosopher, writer, playwright and poet of the Renaissance period. Can you say jack of all trades or what?! He is often referred to as the father of modern political philosophy. Although he died in 1527, his tomb wasn’t finished until 1787. The monument was designed by Alberto Rombotti and sculpted by Innocenzo Spinazzi. The woman in the rich draperies is the figure of Politica, the allegorical symbol for politics. She holds in one hand a portrait of Machiavelli; in the other, she holds scales, swords and scroll – all symbols of politics. The tomb bears the inscription “Tanto nomini nullum par eulogium,” which translates to “No elegy is equal to such a name.”

Pulpit

In such an open space, it’s easy to not get close to things that deserve a little more attention. The pulpit is one of those works of art you might pass right by but needs serious recognition. It was created by Benedetto da Maiano and is thought to be one of the most beautiful pulpits sculpted during the Renaissance. The design of the pulpit tells the story of the Life of Saint Francis. In each scene are fantastically realistic images of animals, landscapes and gorgeously emotive faces, which help describe this narrative. In between the filagreed brackets, which help hold up the pulpit, are tiny little statues set into adorable wooden niches. One of those little touches adds to the entire piece’s incredible details.

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Vittorio Alfieri Tomb by Canova

Count Vittorio Alfieri was an Italian dramatist and poet. He was considered the “founder of Italian tragedy” and died in 1803. His family bought a spot inside the church as his resting place and commissioned neoclassical artist Antonio Canova to create his tombstone. Canova was famous for his baroque-inspired designs, which always had a fair amount of dramatic flair. This would no doubt have been something which Alfieri himself would have appreciated. The allegorical figure in the process of laying a wreath on his tomb is from Italy. She is mourning the loss of one of her children. It was once said of Canova that “as long as Canova exists, immortality can be bought.” His sculptures are so powerful they seem to find a way of stirring people’s souls until time immemorial.

Cenotaph of Dante

The Cenotaph for Dante (buried in Ravenna) is one of the most moving monuments. The poet’s monument is called a ‘cenotaph,’ a tomb without the remains of the deceased. On the front of the tomb are carved the words “Onorate L’Altissimo Poeta,” which translates to “Honor the Poet of the Highest Regard.” On the right of the monument is the sculpture of Poetry, who rests slumped over his tomb, crying out in mourning. Dante was poetry’s greatest treasure, and she is lost without him. On the left, we have the allegorical sculpture of Italy (a figure you’ll see a few times on this tour).

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This symbolic sculpture is often referred to as Italia turrita. Turrita means “with towers,” as the woman’s crown is made up of towers intended to represent the various cities in Italy. In the centre of the crown is a five-pointed star, ‘Stella d’Italia, ‘ which symbolizes the shining destiny of the country. The turrita’s hand gestures towards the central figure atop the rest of the group. This is Dante himself. Immortalized in stone for eternity. Even here, he sits with a hand on his chin, like he is mid-thought. I love to stare at him and wonder if some of that creative genius, frozen in stone, might be transferred to me.

Michelangelo Tomb

But of all the tombs, the most important is Michelangelo’s. Although he died in Rome, he is buried here beneath a monument which looks more like an enormous architectural feature than a simple tomb. Across the memorial are statues of allegorical figures representing Sculpture, Architecture and Painting. Each one of them was lovingly sculpted by his friend Giorgio Vasari. Above the tombstone is a bust o the artist himself. When the monument was unveiled, it became THE masterpiece for anyone planning their funerary monument to reference and attempt to outdo.

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Tomb of Giovan Battista Niccolini

Giovan Battista Niccolini was an Italian poet and playwright during the Italian unification movement. He died in 1861 in Florence, and his tomb lies here under one of the most recognizable monuments in the church. Above his grave is the Statue of Poetry, created by Pio Fedi. This masterpiece almost too closely resembles the iconic Statue of Liberty in America, although at a much smaller scale. Although there is no documented evidence of the creation of the two, the similarities are striking. The drapery of her robe and even her pose are almost identical. Even her crown of sun rays is the same. The main difference is the face. This one is softer and more feminine, while the Statue of Liberty is more severe and almost androgynous-looking.

The other difference is what they carry in their hand. This statue holds a broken chain, a symbol of the defeat of tyranny, while the one in New York holds a burning torch. The Florentine version proceeded with the American design for three years. Still, it’s interesting to wonder if French sculptor Frédéric Auguste Bartholdi paid a visit to Santa Croce before creating his majestic figure. This brings us back to the front of the church, completing out 360 degrees tour of the interior. It’s not time to head out to the cloisters. The exit towards the cloisters is through a door beside the Dontallo Annunciation.

The Pazzi Chapel

Outside, before your cloisters, you’ll pass under the domed ceiling, which leads into the Pazzi Chapel. The Pazzi Chapel was designed by the master architect Filippo Brunelleschi in 1430. The Pazzi family commissioned him specifically for this chapel; no doubt, he would not have come cheap. But the results are worth it! Before entering the chapel, look up at the small outer dome above the entrance doorway. This dome is covered in gorgeously detailed glazed terracotta flowers. The four seasons’ blue and yellow flowers and fruits stand out against the dull colours of the rest of the exterior stonework. In the centre of the flowers is the coat of arms of the Pazzi family, which is made of two fish and four crosses.

When you walk inside, the most impressive feature is the vaulted dome with round windows surrounding the base. On the top is a lantern which lets more natural light flow into the otherwise darkened chapel. Around the dome’s edges are the figures of four saints; St. Matthew, St. Luke, St. John and St. Mark. Along the walls and even on parts of the dome are various lunettes with glazed terracotta images of Saints on them. What’s shocking to learn about this space is it was once an old piece of the cloisters. Brunelleschi had to work within the original structure to create his new interior. Despite these limitations, the architect still managed to create something beautiful.

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Primary Cloister

Santa Croce is home to three cloisters constructed in different periods by different architects. The first and primary cloister was designed by Arnolfo di Cambio. This is the largest cloister, intended to join the church to the refectory with an open garden in the centre. Arnolfo di Cambio’s cloisters can be identified by his signature use of gothic octagonal pilasters with leafy capitals instead of roman renaissance columns. You can still make out the ancient gardens in the corner of the galleries. The tall cedars of the Atlas and the Himalayas are the most prominent of the remaining plants, giving the stone structure a little more life!

Cloister Tombs

Before entering the cloister yard, take a moment to walk down the tombs. Along the northern wall, against the side of the church, are what is called “the cloister of the dead.” This area was built in 1869 underneath the raised porch. Under here, you’ll find more funerary monuments and gravestones. These stones were moved here from the former cemetery, which had been destroyed to make room for additional constructions.

Secondary Cloister

The second cloister goes by the name “Brunelleschi’s cloister, as it was built by Filippo Brunelleschi. This cloister is much small and older than the previous one. It was built in 1470, located along the opposite side of the refectory (which will be the last stop on our tour.)

Florence Nightingale

The cloister houses a beautiful statue of Florence Nightingale. Florence Nightingale is thought to be the mother of nursing. But she was English, so what was she doing inside an Italian cloister? When her mother was pregnant, she travelled to Italy with her husband and unexpectedly gave birth in Florence. Her parents had been so taken with the city that they named her after it.

Another oddity in the middle of the cloister is the 20th-century Henry Moore sculpture ‘Warrior with Shield.’ It was initially donated to the British Institute but moved to Santa Croce. Moore’s sculpture might seem out of place, as he was so devoutly a modernist in the middle of a renaissance mecca. But Moore actually found great inspiration when he visited Italy. The quote says, “I had to go to Italy against my will. But thank goodness, now I did go.” He had thought it would be a place of stagnant art, nothing new or inspiriting. But instead, he found a place where art was still alive, where it would ring out everywhere he looked. He fused this passion with his modernist ideals and found a new outlook on the work he began to create.

The Museo dell’ Opera di Santa Croce

The Great Refectory of Santa Croce was the dining room where the monks would eat their meals and share in communion. Interestingly, the words come from the Latin reficere “to remake or restore,” so a refectorium is “a place one goes to be restored.” This is also where we get the name “restaurant” today! For the monks, this room was a place of meditation and sustenance. Today the refectory serves as the Museo dell’ Opera di Santa Croce.

The museum was established after the great floods in Florence in 1966. The water rose in the Arno river and flooded the city, destroying dozens of homes. Inside Santa Croce, the water levels were five meters deep! Hundreds of precious paintings and other treasures were severely water-damaged and needed immediate restoration. The refectory was turned into a de facto art hospital. Here, the pieces could be laid out and worked on since most of the other spaces in the city were occupied with other restoration works. Some of the pieces would need years of restoration work to be completed. In 2006, the city opened this space into a museum where people could see these historical pieces as they were being restored. It was an opportunity to see how the present day was working hard to preserve this treasured past.

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Triumph of Death

The first few rooms of the museum are dedicated to various frescoes which had to be removed from their original locations due to deterioration or damage. They have been preserved inside new panels to ensure their account lasts for eons. One of the most important of these panels is the fragment of the “Triumph of Death” painted by Andrea Orcagna in the mid-14th century. It depicts a scene from hell, as illustrated by Dante. It depicts snakes entangling sinners, dragons, devils devouring the dead, groups of people crammed into tiny spaces trying to breathe, and strange animals prowling the underground. 

The Last Supper

In almost every refectory, you’ll find scenes from the Last Supper, but the one painted on the wall of this Great refectory is genuinely awe-inspiring. This fresco, painted by Taddeo Gaddi, on the wall of the refectory, is made up of six different scenes. The six scenes took over 30 years to complete and finally finished in 1366! Despite the age of the piece, the colours are still shockingly vibrant. In the very centre, we have the Crucifixion. Instead of portraying Christ solely on a piece of wood, the cross here is more like a tree of life.

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Sprouting forth from its branches are inscriptions written on white scrolls. The inscriptions announced to the prophets surrounding the scene the message of salvation, which Jesus died for humanity’s sins, and preached his entire life. Running along the bottom is the seminal scene of the Last Supper. Many areas from this portion of the mural are missing. Those spots were either damaged or destroyed by the great flood. On the left side, we see two panels; the top portrays St. Francis receiving the stigmata and below the St. Louis of Toulouse. On the right, up top, we see an image of St. Benedict’s retreat and below, Jesus dining at the Pharisees. 

Cimabue Crucifix

One of the last pieces you’ll see in the refectory is Cimabue’s Crucifix. Although his historical piece was damaged during the catastrophic flood that decimated Florence in the 60s, we still have a good sample of this religious icon. The cross was made in 1265 by the Florentine painter Cimabue. The cross was made from five primary and eight ancillary timber boards to form the shape of the Byzantine cross. Another difference this crucifix has from others is the humanist painting style in iconography. Structure, posture, and even colour conveyed silent messages about humanity and nature.

The shape of the body on the cross and how he is positioned feel more natural and effective. He seems almost to fall down as if he can’t hold himself anymore. The crucifix was one of the most critical pieces from the church to be destroyed in the great flood. Over 60% of the paint on the surface was damaged, and its restoration became priority #1! As artisans and restorers from all over the world came to its aid, it became the symbol of the flood and hope for restoration. Today you can still see the crucifix on display and admire the work of many dedicated artists.

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I think Santa Croce is my favourite Florence church, despite it perhaps not being the most famous. The histories here run so deep, yet many of the original works of art, furnishings and treasures are still on display, as they have been for hundreds of years.

Happy Travels Adventurers.

The post The Ultimate Guided Tour of the Basilica Santa Croce, a Gothic-Renaissance Masterpiece first appeared on The Creative Adventurer.

If you’re anywhere close to Sintra in your travels through Portugal, don’t miss out on visiting this fantastic place. This guide can be used both in conjunction with my ‘Day Trip to Sintra Guide,’ or if you’re just interested in visiting this one castle, it’s a great in-depth walkthrough of all the different historical details and artistic aspects of the Palace and Gardens.

Table Of Contents

1. How to Get to Sintra
2. When to Visit Pena Palace
3. Access, Hours & Admission
4. History of Pena Palace
5. Arches Yard
6. Wall Walk
7. Interior of the Palace
8. Entry Doorway
9. Queen’s Terrace
10. Cafe and Restaurant
11. Gardens of Pena Park

How to Get to Sintra

Sintra is easily accessible from Lisbon by trains leaving from Rossio station. The trip requires no transfers and takes around 40 minutes. The round-trip journey costs just 4.50€, making it one of the most cost-efficient day trips. While trains are out to Sintra almost every 40 minutes, I highly recommend getting the train before 8 am. The train schedule changes slightly throughout the year, so I didn’t want to give you an exact time but leaving before 8 am means you’ll arrive before 9 am giving yourself plenty of time to get to your first destination with some time to spare before it opens.

Sintra seems to explode with tourist buses as the morning wears on, so early really pays off. Any chance of being tired is worth it for the experience of arriving at Pena Palace without having to wait in huge lines and fight the enormous crowds to see what’s around you. Also, have a metro card loaded with funds to tap on and off the train or buy your train tickets in advance. Even super early in the morning, there was a lineup at the ticket counter. We were happy to have our pre-loaded metro cards, which meant we could just tap right on them, ensuring we made it onto the train in time. It was surprising how critical those few minutes were in the outcome of our day.

When to Visit Pena Palace

Pena Palace is always busy. Yes, the winter will most likely be the least busy, but it’s also chilly and can be a bit grey. Since most of the things to see are outside, it’s not always the most comfortable time to explore. The height of the summer holidays is equally as miserable but instead because of the intense heat and crowds. Springtime is the happy medium of pleasant weather and medium crowds. Monday-Thursday is reliably the best chance you’ll have to see a small reduction in groups. Avoid holidays when possible as these bring in the Portuguese tourists. As mentioned before the earlier in the morning you arrive, the better chance you’ll have at beating the bus tours, which are the most significant crowd control issue.

Access, Hours & Admission

There are two (well three) options for getting to the palace. The first is to take the public buses which are located right outside Sintra Station. The bus to take is #434, which services Pena Palace. This bus tends to have pretty big lines up at the train station stop since everyone getting on needs to purchase their day ticket, and that slows things down and bit. But once you have your pass, it’s super easy to jump on and off throughout the day. Tickets for this bus cost 5€ for a 24-hour pass.

Taking an Uber

The second option is jumping in an Uber. Ubers are a great way to get around Sintra but be warned that because some of the streets are one way, up a long and winding hill, some drivers might take a while to get to you or might cancel frequently. The Uber ride from the train station to Pena Palace is around 6€ depending on the time of day and the weather. If you’re travelling with 3 or 4 people, Uber can really save you some money, and if there is a big line up for the bus, it can save you some time as well. If you haven’t used Uber before, download the app and use my referral code rds9f to get $5 off your first ride!

Walking to the Castle

The third option is to walk. Walking from the train station to Pena Palace is a pretty long journey, but if you’re keen to do some hiking, this is a great opportunity. Just leave yourself some extra time to hike up to the castle and still arrive at the gates for 9:30 am.

While the entry gates are located just off the roadside, the palace itself is a fair bit uphill from the main entrance. There is a mini-bus which runs up to the top, but it costs 3€ and more than the money, the line you need to wait in to get onto the bus is a huge inconvenience. Although a little long, the walk up is actually quite enjoyable. If you have mobility issues, just take it slow and spend the extra time resting in between spurts admiring all the beautiful flora and fauna in the garden.

Admission Options

There are two options for Pena Palace admission. One is to tour the palace’s exterior and royal gardens. The other option will get you entry into the interior of the castle. If you are confident you’ll arrive early and are keen on seeing the rooms inside, go ahead and buy that ticket. But the lineup to get inside can get insanely long. They need to control the number of people who enter the buildings (something which isn’t monitored outside), so this often results in lengthy queues.

We were there as close to the opening as possible, and even we had to wait about 20 minutes to get inside. When we left, the line looked to be almost 2 hours long. While I thoroughly enjoyed touring the interior, there is no way it’s worth 2+ hours of waiting in line. If you think you can miss the interior, the gardens, and the exterior ticket is an excellent option since I think the best parts of the castle are the exterior anyway. It will save you a few euros and potentially a lot of time. If you did purchase a ticket for the interior tour but the lineup to get inside is gigantic, I would advise coming back right before closing when the crowds have cleared out.

Hours

Pena Palace is open all year round except December 25th and January 1st. During the Summer (March to October), the palace is open from 9:45 am until 7:00 pm (last entry 6:15), and the park is open from 9:30 am until 8:00 pm (last entry 7:00 pm). In the Winter (October to March), the palace & park are open from 10:00 am until 6:00 pm.

When to Visit Sintra

Sintra is always busy. Yes, the winter will most likely be the least busy, but it’s also chilly and can be a bit grey. Since most of the things to see are outside, it’s not always the most comfortable time to explore. The height of the summer holidays is equally as miserable but instead because of the intense heat and crowds. Springtime is the happy medium of pleasant weather and medium crowds. Monday-Thursday is the best chance you’ll see a small group reduction.

Avoid holidays when possible, as these bring in Portuguese tourists. As mentioned before, the earlier in the morning you arrive, the better chance you’ll have at beating the bus tours, which are the most significant crowd control issue. Always the most comfortable time to explore.

How Much Time to Spend?

Pena Palace, although the most popular spot to visit in Sintra, doesn’t take too much time to tour. We spent about 2 hours inside the Palace proper and another hour touring the gardens. If you wanted to tour the entirety of the acres and acres the gardens are spread out across you could be here all day, but to visit the entirety of the Palace and a general tour of the gardens would take around 3 hours. This doesn’t include waiting in line, so if you come on a busy day when the line up to get inside the interior is hours long this will obviously add to your time spent there.

If you find the line for the interior is too long and you want to see a lot of the gardens, consider doing the gardens first and then returning to the interior later on in the day. Sometimes if a huge tour bus drops off a few busloads just waiting for those groups to disappear is a great plan to avoid having to wait in line with them.

Is it Really Worth Visiting?

Pena Palace, although the most popular spot to visit in Sintra, doesn’t take too much time to tour. We spent about 2 hours inside the Palace proper and another hour touring the gardens. If you wanted to tour the entire garden, which is spread out across acres and acres, you could be here all day, but to visit the whole of the palace and a comprehensive tour of the gardens would take around 3 hours. This doesn’t include waiting in line, so if you come on a busy day when the line up to get inside the interior is hours long, this will obviously add to your time spent here. If you find the line for the interior is too long and you want to see a lot of the gardens, consider doing the gardens first and then returning to the interior later on.

History of Pena Palace

The Hieronymite monastery was built in 1503 in honour of the Virgin Mary, who is said to have appeared at the top of the mountain in a vision. After falling to ruins over the years due to religious upheavals, King Ferdinand II, who had been in love with this spot since he was a child, decided to buy the buildings and the surrounding lands. Construction of the new royal estate began in 1838.

Ferdinand was obsessed with romanticism in art and architecture. He wanted his contemporary summer house to feel like something out of a storybook. Oddly enough, the palace’s construction was taken on by a mining engineer, Wilhelm Ludwig von Eschwege. Perhaps this was because the Prince and his wife wanted their full say in the castle’s design. Yet they needed Eschwege’s planning prowess to help them achieve the look of a castle sprung forth from the rocks. There really is no one style to be found here. Instead, it’s a patchwork quilt of influences and themes. Ferdinand wanted to include Medieval and Islamic elements and Neo-Renaissance, Neo-Gothic, and Neo-Manueline. The Manueline architecture was the most iconic style in Portugal at the time. It was the millennial pink of its time.

Architecture

There really is no one style to be found here. Instead, it’s a patchwork quilt of influences and themes. Ferdinand wanted to include Medieval and Islamic elements and Neo-Renaissance, Neo-Gothic, and Neo-Manueline. The Manueline architecture was the most iconic style in Portugal at the time. It was the millennial pink of its time.

After the death of Ferdinand, the castle was inherited by his second wife, Elise Hensler, who became Countess of Edla. The Countess, under pressure from the crown, sold the estate back to the royal family with the one condition that she could continue to live there until her death. King Carlos, next in line to the throne, was the last member of the royal family to live in the palace. After his assassination, his son, Manuel II, became the last King of Portugal and his wife, Queen Amélia, was the last person who stayed in the palace until the republican regime brought an end to the Portuguese crown.

Entrance to the Palace

While the entry gates are just off the roadside, the palace is a fair bit uphill from the main entrance. There is a mini-bus which runs up to the top, but it costs 3€ and more than the money, the line you need to wait in to get onto the bus is a huge inconvenience. Although a little long, the walk-up is actually quite enjoyable. If you have mobility issues, just take it slow and spend the extra time resting between spurts admiring all the beautiful flora and fauna in the garden.

At the top of the hill, the golden yellow walls, blue tile and red-painted exterior of the palace begin to emerge from the trees. Seeing this palace in real life is nothing like seeing the pictures. I really don’t think they can do it justice. Walking up those cobblestone steps makes you feel like you’re walking into a fantasy.

Door of Alhambra

The entryway into the castle is called the Door of Alhambra. It was inspired by the Alhambra Door of Justice in Granada, Spain. The doorway is covered in brightly painted tiles and decorated with various elegant leaves. Ferdinand wanted this gateway to be where his visitors left the real world behind and stepped into his dream world.

The Coach Yard

Open passing through the archway, we step into the ‘Coach Yard.’ This was as far as horses and carriages could come, and guests would make their way to the palace on foot. Standing here, we can look up at the ‘Monumental Gateway.’ The gateway’s design is a blend of architectural elements found all over Lisbon and which the Prince wanted to see incorporated into his palace.

The facade is covered in diamond-shaped stones, referencing the Casa dos Bicos in Alfama. On either side of the top of the gateway, we have arched domes, completed with rope-like decoration; the same was on the famed Tower of Belem. The exterior is finished in a series of round balls reminiscent of the Cunhal das Bolas in Barrio Alto. In the centre of the arch, on the very top, is a pair of crossed swords atop a knight’s helmet, with a plume of lush feathers springing out of the top.

Upper Courtyard

Step through the archway and make your way around the swirling passageway to the upper courtyard. It’s here you’ll finally have the chance to study the tiles which make up the exterior hue of this building. Tiles, or Azulejos as they are called in Portuguese, have a strong history in Portugal, dating back to the 13th century. The Moors brought them here, who invaded much of Spain and Portugal in the 1200s. The word azulejo in Arabic means “small polished stone.” In Islam, they believed in aniconism, the avoidance of images of sentient beings in art. As such, geometric shapes became the most popular form of decor. As such, most of the tiles brought with them from Islam continue this tradition. The geometric and natural forms are striking, and their colours haven’t faded significantly over the years.

The Triton Portico

The Triton Portico is one of the most impressive elements of Pena Palace. Triton is meant to serve as an allegorical of the world’s creation. The facade is divided into two factions, the aquatic world below and the terrestrial world above. They are separated by Triton, a monster half man and half fish but a part of both worlds. Bits of corals surround Triton’s feet; above him, you can see the carved grape vines and leaves blossoming wildly. The Portuguese were a seafaring nation, and aquatic symbolism was always an important aspect of their artistic culture.

Azulejos

Tiles, or Azulejos as they are called in Portuguese, date back to the 13th century. They were brought here by the Moors who invaded much of Spain and Portugal in the 1200s. The word azulejo in Arabic means “small polished stone”.

In Islam, they believed in aniconism, which is the avoidance of images of sentient beings in art. As such, geometric shapes became the most popular form of decor and as such, most of the tiles brought with them from Islam continue this tradition.

Arches Yard

Walk underneath Triton’s arch out to the Arches Yard. The small passageway is where you’ll find the restrooms which are also covered in traditional tile work. The Arches Yard is framed by a wall of graceful, golden arches done up in Moorish style. The arches create a window onto the village of Sintra and across the countryside below.

There is nothing to compare this view to, it seems to go on and on forever on a clear day. From atop this peak, you can spy on all the wealthy estates below, one of which is actually owned by Madonna, the Queen of pop herself! Sintra truly is still to this day where the rich and famous come to escape the city and to live in some of the most lavish properties found anywhere in the world.

Convent of the Order of Christ

Take the chance to turn your eyes away from the incredible view, and look across towards one of the incredibly ornate windows on the main facade. This piece was directly inspired by the chapter house window in the Convent of the Order of Christ in Tomar. The window is surrounded in alchemical symbols, some of which seem to have a mystical aura. Much of Sintra’s more obscure lore lies in its prominence as a Masonic hub. The Convent of the Order of Christ was a 12th-century stronghold for the Knights Templar. Once its order was disbanded, it is said that the Masonic Temple was formed to continue its mission. It is rumoured that King Ferdinand was himself a grand master of the Masonic Order and as such, influenced much of Sintra’s history as a Masonic centre of power.

Chapel

Standing guard over the Arches Yard is the sizeable red clock tower atop the old monastery chapel. The steeple of the chapel is embellished with white and emerald green tiles which beautifully contrast the red and yellow walls and the blue (or grey in our case) sky.

The chapel remains unchanged from its 16th-century design. 22 monks would come to pray here during their time at the monastery. The walls are entirely covered in green and white polychrome tiles which still shine inside the darkened chapel. In a small alcove is the ornate alabaster and black marble altar made by Nicolau de Chanterene in 1532. The expressions which he managed to carve out of the solid marble defy earthly conventions making it feel all the more holy.

Remnants of the Monastery

Opposite the altar is one of the few remaining original stained glass windows from the monastery. The coloured used within this design are so striking, and it’s hard to believe this piece is a few hundred years old. I loved how quiet it was inside the church, it seemed most people skipped it as they were in a rush in those group tours, but I was glad to have stopped inside as it was a wonderful moment to pause and reflect on the beauty all around me.

Wall Walk

Just down the stairs from the chapel is the Wall Walk, a small passage which leads you around the back of the palace. While the narrow walkway looks over a steep hillside, the brave will be rewarded with one of the most unbelievable views across Sintra.

Standing on this side of the palace, you can see the Moorish Castle on the other side of the forest. It seems so far away, and yet the entrance to the Moorish Castle is just on the other side of Pena Park.

Interior of the Palace

If you bought a ticket to enter the interior, make your way inside. This part of the tour often gets very crowded, and the line can get long, so best to do it as soon as you enter when the line is bound to be shorter or if it seems rather long, skip it and make your way towards the gardens, with the intention to return here later in the day. The palace is made up of two separate wings. They are distinguishable by their paint colours. Ochre for the new wing and burnt red for the old monastic side.

Entry Doorway

A stunningly embellished door, surrounded in carved florals now serves as the way in for visitors to the palace. This was the entrance formerly used by the Royal Family, providing access to the palace’s most private areas. This building was once the Hieronymite monastery, and although the spaces were converted from simple rooms for prayer into luxurious royal residences, the bones of the original structure remain the same.

The Hieronymite Convent Cloister

As you enter, you’ll step right into the cloisters. Look up and see how the open-air hallways continue on both floors of the palace. The entirety of this place is covered in azulejos, and ghastly faces stare down at you, carved in the gargoyles above. The centre of the cloister has a giant carving of a shell in the centre which is held up by four little turtles. The open shell represents a womb, as this little scene is an allegory for the vegetal world giving birth to the aquatic underworld. Like the wealthy Portuguese Kings who, with their finances, gave birth to the world’s best seafaring explorers.

Scullery

The scullery is the first room you’ll enter from the outside cloister. In large, dark wood cabinets along the walls are porcelain and crystal flatware from the Royal collection. Set up on one table just to the right of the entry door is a sample of what their tea sets would look like. Tiny, little cups and plates in the shape of seashells are ready for a hot pot of tea and finger sandwiches.

Dining Room

One of the most impressive rooms you’ll see on the first floor is the dining room. The dining room has the most remarkable ceilings made of intricate ribbed vaults and lined in tiles. The table is set like they’re still awaiting their visitors. Each piece of furniture was made for this exact space, the images of Portuguese animals of the forest carved into the backs of the chairs. The rainbow coloured glassware still catching the light white pours through the windows. Even from the other side of the room, you can see how truly amazing the view from the interior really is.

King Carlos’ Bedrooms

After the death of King Ferdinand II, the palace passed hands several times but eventually became the residences of King Carlos and his wife Dona Améli in 1890. The bedrooms and apartments on the lower floors belonged to King Carlos. These apartments were initially the former Chapter House of the Manueline monastery. They were used by King Ferdinand II as his servants quarters, but King Carlos actually preferred this more modest setting and left the upper more elaborate apartments for his wife. King Carlos’ bedroom is decorated in dark wood, with bright green accents. The Empire style was an early-nineteenth-century design movement which was inspired by Neoclassicism and Romanticism, and each piece of furniture in this room was designed within that style. On the walls, there are splendidly painted emotional landscapes, and throughout the room, classical sculptures of attractive women of mythology make almost any spectator blush.

King Carlos’ Studio

The reverie continues into King Carlos’ studio. Here we find a mural painted across the entire room of nymphs and satyrs playing in the Park of Pena. This painting is believed to have been painted by the King himself, who was obsessed with filling his private quarters in these fantastical scenes.

King Carlos’ Bathroom

Pena Palace was one of the first royal residences to have sanitation facilities specifically designed for personal hygiene. Despite being a bathroom, the room is nevertheless filled with decorative garnishes. The bathrooms are filled with luxurious furniture and lined top to bottom in the most exceptional tile work.

The Interior Niche

A small corner niche which you’ll see before going upstairs contains one of the oldest treasures of the former Monastery. This little niche features a mosaic wall decorated with shells, stones and porcelain pieces. Since it was transformed into a simple storeroom, there was no need to remove the old decor to make way for more modern decorations therein preserving its history for the modern era.

Bedroom of the Queen’s Secretary and Ladies-in-Waiting

Next, we head upstairs to find Queen Amélia’s apartments. The first room we enter is the bedroom of the Queen’s ladies in waiting. Initially, when King Ferdinand II lived here with Countess of Edla, this room was a small dressing room, but when Queen Amélia moved in, she required more space for her servants and noblewomen. One of the most beautiful objects in the room is the Indo-Portuguese rosewood bed, carved to perfection like the wood was made from butter. Above the bed are plastered a knotted row of branches which blossom with hundreds of pine cones so lifelike you’ll think they might fall down upon your head.

The Queen’s Withdrawing Room

The yellow room adjacent is the Queen’s Withdrawing Room. It features a stunning bunting of plaster roses which hang from the crown moulding. Rose motifs are etched into almost every inch of the vaulted ceiling. More proof of Ferdinand’s obsession with romanticism and bringing nature into the interior of the home.

Queen’s Bedroom

The most opulent of all the rooms in the Queen’s bedroom. Moorish decorations cover the walls and ceiling in a way that literally makes your jaw drop. Geometric patterns repeat on the roof and spread out onto all the walls below. The designs are centred around bright gold stars covered in sumptuous gold leaf. The dark wooden bed is given a baroque treatment with swirling bedposts and a headboard which surges and swells like the waves.

Study of Queen Amélia

Outside the bedroom, you’ll find the study of Queen Amelia. Originally this was the music room, a room which acted very similarly to a modern day living room. This was where the family would listen to various musicians play traditional Portuguese instruments. Eventually, the room was transformed into the Queen’s study. Today, it is used to display silverware, weaponry and even the desks and stationary of Queen Amélia. The room’s wallpaper is made to look like carved stoned with faux azulejos in green and white accents.

Green Room

The green room provides another brilliant example of Trompe-l’ œil. Here the wallpaper is made to replicated flowers and branches as well as traditional architectural carvings. Although some of the paint is peeling, I love how this part was left unrestored as it makes the building feel more authentic and shows its real age!

Arab Reception Room

Past the royal chambers, we find the Arab Reception room. Looking at this room from afar you might be fooled into thinking the walls open up to the exterior and the ceiling is fantastically carved. But in fact, these are all optical illusions. This technique is called ‘Trompe-l’ œil’ which is French for “to deceive the eye”. Objects which exist in three dimensions are here created in a two dimensional forced perspective with nothing else but paint. The paintings were made in 1854 by esteemed Italian scenographer Paolo Pizzi. This technique was employed to make otherwise small spaces to make them feel grandiose to the guests who would be received for the first time in this room.

The Galleries

The next few rooms were once used as the abbot’s suite when the building was a monastery. These now contain different trinkets, treasures and works of art which belonged to King Ferdinand II. This part of the tour felt so special since you were looking at all these personal items which help you understand the personality of the man who once owned this castle. The little things which make a house, a home.

Smoking Room

In the smoking room, we find a vast Islamic dome covered in Mudejar art. A stunning neo-rococo chandelier hangs from the ceiling, covered in Venetian glass in the shape of ivy climbing all over the wrought iron frame. The candles site inside morning glory flowers, also made from that fantastical Venetian glass. The white walls are covered intricate textures which were created to replicate the look of traditional Indian lacework. This was my favourite room, it felt both immensely regal, which also being restrained and demure.

Queen’s Terrace

The Queen had access to one of the most astonishing parts of the castle, the south facing terrace. From here she could look out over the majestic Sintra countryside and the castle’s exceptional architecture. During the reign of King Carlos and Queen Amélia, there was a large metal structure erected on the terrace so the king and queen could entertain their guests outdoors during the summer. In the centre of the terrace are a large sundial and solar quadrant which once fired a small cannon throughout the day to announce the presence of the royal family or visiting dignitaries.

Noble Hall

Upstairs, Noble Hall is one of the most impressive spaces in the palace. Compared to the relatively small sized bedrooms, this receptions hall was where the King took advantage of space. It was here where large parties were thrown, and the who’s who of Lisbon’s high society would come during the summer.

The Noble Hall was inspired by the Ottoman Court. Iron replicas of Turkish kings are located on either end of the room, in their hands, they hold huge golden torches. Rich, red leather sofas on either side of the hall were designed with mirrored canopies behind them to make the room appear much larger than it is in reality. It was also an excellent way for the elite to spy on those around them and see just who is sharing secrets with who.

Stag Hall

One of the last rooms you’ll see is the Stag Hall. Originally it was supposed to be the banqueting hall, but construction was halted, and it never came to be. The central column, designed to looks like a giant tree trunk, was going to be the enormous round table which guest would eat around like knights of stories past. On all the walls there would have been antique weapons on display, and each of the windows would have contained pieces of archaic stained-glass themed with heraldic motifs. Since this new part of the castle was never finished, it remains somewhat unfinished looking with only stuffed deer trophies decorating the plain white walls and glass display cases featuring the pieces of stained glass planned for the windows.

Kitchen

The last room you’ll see is the old kitchen, a real hit with chefs and foodies. In here are all the original kitchen utensils, pots and pans and other old-fashioned culinary tools found in this old Portuguese kitchen. The kitchen felt enormous compared to the rather small interior rooms, but it must have taken an army to feed the great parties which were no doubt held here. The new kitchen was designed to be close to the Stag Hall since it was meant to be the main dining area, but unfortunately for the poor chefs, this never came to be.

Cafe and Restaurant

After touring the castle, the cafe located on the terrace is a great spot to grab lunch. Although the restaurant here is rather expensive, the cafe is surprising cheap with a selection of delicious Portuguese pastries, sandwiches and more. If you brought your lunch, this is also an excellent opportunity to break out the picnic. While there might be better places to eat in town, it would take ages to get there and back so instead, enjoy the regal atmosphere around and soak in the view.

Gardens of Pena Park

After finishing up at the palace, it’s now time to explore the gardens of Pena. The map they give you when you enter is really confusing, so its best to just keep that adventuring spirit in front of your mind and just wander the park. Don’t worry about getting lost, you’ll eventually stumble upon some signage, which always helped us get back on the right track. The gardens cover over 85 hectares of land around the castle. If you love hiking, you should definitely try to come out here and explore the entirety of the park. This could take you all day and is certainly not for those in a rush, but if you have the time to space, there are so many amazing things to discover.

Cruz Alta

You can hike to the very top of the gardens to find the Cruz Alta, located 529 metres above sea level. This stone cross is situated at the highest point of the Sintra hills. The cross is made of intertwined branches and created to mark to the where the explorer D. Joao III claimed this land for Portugal. Another famous landmark is the Statue of the Warrior. This stunning granite sculpture made in 1848 by Ernesto Rusconi is of a non-descript knight who represented all those idealized, romantic notions in which the parks and palace sought to embody.

Compared to the hundreds of people at the palace, these winding pathways around the gardens felt like your own private area. We were often the only ones there, and in spite of the confusing map, we had a blast exploring and getting lost all along the way. Ferdinand wanted these gardens to feel like wandering through a romantic forest where you wouldn’t be surprised to come upon nymphs drinking spring water from the fountains or unicorns grazing on fern trees.

Greenhouse

The Hot House, or greenhouse, can be found just past the Camellia Gardens. The greenhouses’ importance is notable by the fact that it is surrounded by large stone walls which aim to protect and highlight this spot. The greenhouse was equipped with its own plumbing system, and you can find the old furnace outside which was used to heat the greenhouse throughout the year. This was used to keep those precious flowers which needed warmth, safe throughout the colder winters. Having this greenhouse meant that Ferdinand could grow many different impressive flowers and trees, which otherwise would have been impossible to flourish outside of their natural environment. One more example of how this palace made the impossible possible.

Throughout the garden, you’ll spot everything from magnolias, Japanese Cryptomeria, Chinese ginko, American sequoia, cypress, red cedar, as well as tree ferns from New Zeland and Australia. No matter what time of year you come, there is almost always something flowering.

Islamic-style domed pavilion

In the lower portion of the gardens, you might be surprised to find an Islamic-style domed pavilion. Around the edge of the dome, written in Arabic are the words “The Sultan D. Manuel built this chapel blessed in the name of Our Lady Mary of Pena, in the year 1503, in celebration of the safe return of Dom Vasco da Gama’s discovery of the lands and countries which he found…” The King was never a Sultan, but it’s just one more way that we can see how Ferdinand really loved a fairytale story, even about himself.

Further down, closer to the roadside entrance to the park, you’ll find the Grotto of the Monk. This was once a modest medieval garden where the Hieronymite monks would come to retreat the monastery and meditate in the peace and quiet of the forest.

Duck Houses

One of the last things in the park to explore before you exit are the Duck Houses. These stone towers look more like minature forts, but when you look closer at their tiny doors, you might catch a glimpse of a family of ducks making their way home. These were such a delight to Ferdinand’s guests, as everyone got a good laugh out of these ducks with their very own castle, within in a castle.

The duck houses mark the end of the tour. They are located at the official entrance to Pena Park. If you’re continuing on from here, it’s a short 10-minute walk over to the Moorish Castle, or you can hop on bus #434 to get back to Sintra station. While many people make Pena Palace a part of their day trip to Sintra, if you choose to explore the entirety of the park and spend some quality time inside the palace, you can easily dedicate an entire day to this wonderland. I hope that either way, you decide to visit this incredible site. I hope that you have a great time exploring all these secrets I’ve uncovered for you and that you share with me any new ones you discover!

Happy Travels Adventurers!

The post The Ultimate Self Guided Tour of Pena Palace, Sintra first appeared on The Creative Adventurer.

Table Of Contents

1. Access
2. Tickets
3. A Brief History of the Hungarian Parliament
4. Parliament by the Numbers
5. Where to Get the Best View
6. Architectural Design
7. Interior Tour
8. Hungarian Crown Jewels

Access

You can take the subway to Kossuth Tér station on the M2 metro line to reach the Parliament Building. If you prefer to travel on the tram, you can also take Line 2 to Kossuth Lajos Square Station. The buildings are open from 8 am to 6 pm from April to October and 8 am to 4 pm from November to March. There are certain times when Parliament is meeting, and entry is unavailable during those days. Check the website before you arrive to see if there are any blackout dates during your visit. 

Tickets

Since the parliament buildings are one of the most popular attractions in Budapest, it is highly advisable to buy your tickets in advance. Tickets can be purchased online; trust me, you’ll be happy you don’t have to waste your time waiting on your vacation by doing it this way. Adult tickets for non-EU citizens cost 10,000 Ff ($27 US) and European Citizens can buy a discounted ticket for 5,000 Ft ($14 USD.)

A Brief History of the Hungarian Parliament

The Parliament building was built in 1896. It was made after the unification of the three cities which would eventually make up modern-day Budapest. A nationwide design competition was held to find a concept widely loved. Not just by the government but by the public as well. It was important to the committee that the building was designed from the start by a Hungarian. A native who could embed their nation’s values, history, art and cultures into one building. In the end, Hungarian architect Imre Steindl’s Gothic Revival design won the competition and construction on the new Parliament could finally begin.

Interestingly, second and third-place designs were honoured by being built, just not as Parliament. They were actualized, albeit on a smaller scale, across from the Parliament Building and served as the headquarters for the Ministry of Agriculture and the Museum of Ethnography. All three buildings in these small areas are a real treat, and you can decide for yourself if the committee made the right choice.

Parliament by the Numbers

The Hungarian Parliament Building is the world’s third-largest parliament building, measuring 258 meters long and 123 meters wide. Its interior includes 691 rooms, 200 offices, ten courtyards, 27 gates, 29 sets of staircases and 13 passengers and two freight elevators. The building is 96 meters tall, and after its construction, a law was written that no other building in the city is allowed to be taller than the Parliament building. This ensures that the spires of Parliament can be seen from all across the city.

Where to Get the Best View

The best place to see the Parliament building for the first time is from across the Danube river. Standing in a place like Batthyány Square, you can easily see the entirety of the building. From afar, you can better appreciate the harmony and power such a domineering structure can evoke. From the other side of the Danube, you’ll be able to study the symmetrical nature of the construction. Either side of the upper and lower houses are perfect copies of each other. This reflects the equality between the two houses of Parliament. In the centre is a large, commanding, Neo-Renaissance dome, signifying the unity created when combining both sides of the legislature.

Architectural Design

Over 100,000 people were employed to construct the Parliament Buildings. No expense was spared in the production. One of the most essential things to designer Imre Steindl was to ensure the construction used elements of the Carpathian Basin in its structure. There were over 40 million bricks made from Hungarian materials. Half a million precious stones were harvested from around the country to be used in the decorations. 40 kilograms of gold were added throughout to give the building a sense of opulence and grandiosity. Steindl used local artisans to create the thousands of sculptures, frescos and ironwork that make this building so absolutely covered from floor to ceiling in art.

Gothic Revival

The design of the building is anchored in the Gothic Revival movement, which takes elements from classical Gothic designs but blends in details of the Renaissance and the Baroque. The gothic Revival is an architectural movement that began in the late 1740s in England. The style features characteristics including; decorative patterns, finials, scalloping, lancet windows and hood mouldings. While the facade and ornamentation may be neo-gothic, the floor plan is distinctly baroque, and the embellishments on the ceilings inside are stylistic elements drawn from the Renaissance. It’s fantastic to see a building not stuck inside just one style. It breaks free from linear standards and feels like a love story to architecture itself.

Because of modern-day pollution, the porous limestone walls cover to surround the facade of the building regularly require cleaning. Don’t be surprised if you see scaffolding around Parliament when you visit.

Exterior Statues

To the east, even from across the river, you can see a large group of statues which make up the Kossuth Memorial. Created in 1956, the dramatic sculpture surrounds a large column where Lajos Kossuth stands. Lajos Kossuth was a freedom fighter and influenced the creation of democracy in Europe.

Count István Tisza

On the north side of the building, you’ll find the statue of Count István Tisza. István Tisza was a Hungarian politician, prime minister, political scientist, international lawyer, macroeconomist, and member of the Hungarian Academy of Sciences. He really did it all! Tisza was one of the most influential politicians who supported Austria-Hungary’s dual monarchy but was eventually assassinated during the Aster Revolution.

Attila Józsefa

Along the edge of the river, sitting frozen in place, is a statue of Attila József. His poem By the Danube is reflected here in his pose: 

As I sat on the bottom step of the wharf,
A melon-rind flowed by with the current;
Wrapped in my fate, I hardly heard the chatter
Of the surface, while the deep was silent.
As if my own heart had opened its gate:
The Danube was turbulent, wise and great.

On the grassy knoll outside the front of Parliament is the triumphant equestrian statue of Francis II Rákóczi. Rákóczi was a nobleman and leader of the Hungarian uprising against the Habsburgs in 1703. He is considered even to this day as one of the greatest Hungarian national heroes.

In Memoriam

I think one of the most moving statues on the grounds is ‘In Memoriam 1956.’ This large piece of black iron might look like nothing from afar, but when you get close, you can make out bullet holes embedded in the sculpture. This is to memorialize the Hungarian Revolution of 1956. This was a nationwide revolution against the Hungarian People’s Republic and its Soviet-imposed policies. The battle lasted 18 days, and over 2,500 Hungarians and 700 Soviet troops were killed in the conflict.

The 6.5 m tall statue of Count Gyula Andrássy riding his proud horse stands on the south side of the building. Gyula Andrássy was Hungary’s prime minister between 1867-71, and he still stands guard outside Parliament today.

Interior Tour

Because both sides of the Parliament Halls are identical, one is used for the politician’s daily work and the other for guided tours. This allows you to explore everything the insiders see daily without worrying about interfering with the employees’ day-to-day activities.

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The Golden Staircase

When you first go up the stairs upon entry, look up. You’ll see that the entire ceiling is coated in nothing but gold. Hence the name, The Golden Staircase. It looks like the inside of a jewellery box. From the golden staircase, you’re led down a narrower hallway. The right side of which is adorned with brilliantly coloured stained glass.

The small hallways will suddenly open up, and you’ll find yourself standing in The Grand Stairway. Along the sides of the staircase are huge Corinthian columns, each carved in exotic burgundy granite. They are capped with intricate gilded embellishments and spread out into fantastically painted arches covered in gold. There’s a lot of gold in here, that’s for sure. There is something about seeing all this grandeur in a place of government; it really does give you the sense that these people were very passionate about politics.

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Károly Lotz

Take a 360-degree spin around, and be sure to take a look up at the fresco on the ceiling. These incredible frescos were painted by Károly Lotz, a famous German-Hungarian painter. These three depictions are allegorical and symbolic of the government’s actions and effects on the country.

The stained glass throughout the building creates little vignettes of magic when the light pours through. Created by artist Miksa Róth, the windows represent family crests of iconic Hungarian royal families. Others designs are merely decorative, using traditional Hungarian patterns. But most impressive are the glassworks that look like embroidered drapery yet forged in the glass.

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The Dome Hall

The next stop on your tour is Dome Hall. Entering the hall makes you feel as though you are entering a Cathedral. The soaring dome and adornments throughout are as glorious as it comes. There are 16 points in this room, each of whose corners reach up to the top of the dome, creating an immense sensation of openness and grandiosity.

See if you can count all 242 sculptures surrounding the dome’s corners. Each portrays a different Hungarian ruler, Transylvanian leader or famous historic military officer, carefully placed on gold pedestals. Despite their small stature, their faces are impeccably carved, and their expressions are life-like.

Hungarian Crown Jewels

One of the most precious treasures of the Parliament building is the Hungarian Crown jewels. You can see on display the Holy Crown, the orb and sceptre, and a Renaissance royal sword. The crown jewels have had a rough history as they have been lost, stolen and looted several times. After WWII, they were given over to the American army to keep them safe from the Soviet Union. They remained in Fort Knox, Kentucky, for years, and it was only in 1978 that President Jimmy Carter had them returned to the Hungarian people.

The Hungarian crown comprises two pieces of jewellery, each from an illustrious era of history. The lower portion is the original Byzantine crown, and the upper cross-shaped topper is from another crown from the medieval period. The crown was initially designed for St. Stephen for his royal coronations over 1000 years ago.

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Upper House Lobby

Before entering the Upper House, you’ll be ushered into the Upper House Lobby, a long corridor with massive pillars on either side, where people gather before or after critical political meetings. The enormous turquoise carpet is one of the most exciting things in the Upper House Lobby! This carpet is hand-knotted, which would have taken artisans thousands of hours to complete all by hand. The pillars in the lobby, almost salmon pink in colour, are surrounded by statues representing Hungarian crafts and culture, which seems appropriate since the art and design that makes this building so unique is mostly due to these craftsmen and women.

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Another ubiquitous piece of history is the brass cigar holders that line the window sills. Since smoking was banned inside the Chamber when smoking, politicians had to go back inside to vote on a particular bill or amendment. They didn’t want to snuff out their expensive cigars and instead would leave them in these fireproof holders so they could return to smoking after voting.

The Old Upper House

The Old Upper House is a replica of the assembly hall where the congress meets weekly, and some of the nation’s most significant decisions are made. This hall is used more for conferences and meetings than political state business. The House itself is enormous. 452 wooden seats, made from decorated Slavonian oak, are set in a semi-circle around the speaker’s chair. The seats are covered in lush red velvet, making each member feel important. Behind the speaker’s chair are magnificent paintings of Hungary’s royal families over the years.

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Library of Parliament

The last thing you’ll visit on your tour is the library of Parliament. Although politicians have a private library which they use, this library is open to the public and still contains over 500,000 books and volumes. Books as old as 1580 are stored here on the shelves that reach the ceiling. Sitting inside the library, you have a stunning view across the Danube, and it’s the perfect peaceful place to end the tour.

What are your Parliament Buildings like back in your home country? Are they magnificent as this one? Let me know in the comments!

Happy Travels Adventurers

The post The Best Visitor’s Guide to Budapest’s Stunning Hungarian Parliament Building first appeared on The Creative Adventurer.

Table Of Contents

1. History
2. Admission and Access
3. House 20
4. Franz Kafka House
5. House 12
6. House 13
7. House 14
8. House 15
9. House 16
10. House 23
11. House 27
12. Medieval Armoury

History

In 1597, the marksmen who guarded the castle’s fortifications wanted a place to live nearby. They didn’t want to walk back to Lower Town every day after their shift was over, and being nearby would mean faster response to any attackers. The emperor permitted them to build their homes on the small piece of land now the Golden Lane. But there were 24 marksmen and a lack of space for large enough houses. The miniature houses were constructed in the mannerist style out of stone, mud and wood – all cheap materials which would have been abundant to these marksmen.

Eventually, the row became home to more than just marksmen. Both rich and poor people lived here, as their proximity to the castle made it the perfect location to best serve the monarchy. There were artists, clerks, footmen, and more living along this narrow road. An extensive renovation was done to the lane in the 1950s after WWII, and only 11 historic houses remain today. The houses on the street no longer house residents of Prague but contain souvenir shops and little exhibits which display what life was like in the lane over the last 500 years.

The street gets its name from the famous alchemist who once lived here during the reign of Rudolf II. This alchemist was obsessed with creating the philosopher’s stone, the elixir of youth and most of all, trying to turn cheap metals into gold! He was never successful himself, but stories of his attempts lived on. In the 20th century, an old doctor of philosophy spent his life savings collecting old books on magic and went about secret experiments in his house on Golden Lane.

One day, neighbours heard an explosion and came running. His house was on fire, and when firefighters finally could extinguish the blaze, they found the old man dead inside, clutching a large piece of gold in his hand. Perhaps he finally accomplished what all those alchemists before him were attempting to do, as no one could understand how else he would have come to own such a large, expensive piece of gold.

Admission and Access

Access to the Golden Lane can be gained only with a Prague Castle admission ticket. You can access the Golden Lane on either circuit A or B. It is open from November – March from 9am – 2pm and from April – October from 9am – 5pm.

House 20

The only house retained with a Renaissance appearance is house #20, with its original dark brown pieces of framing, which can be seen from the exterior.

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Franz Kafka House

Many famous people have lived here throughout the years. Be sure to stop by house #22, the blue house, which was once home to Czech-born, German-language novelist Franz Kafka. Although the interior of this house is one of the most disappointing since it’s now nothing more than a cheesy souvenir shop.

House 12

House #12 was owned by film historian and collector Josef Kazda. This was my favourite house on the lane. Inside are hundreds of posters from old Czech films and piles of film canisters littering the floor. Kazda saved many films which were supposed to be destroyed by the Nazis in WWII, and his house became a kind of warehouse to keep these pieces of history safe.

House 13

House #13 is the residence of the red artilleryman. It’s a recreation of the home of one of the many guards who protected the castle. Inside you can find his bed, original guard uniform, and their humble cottage kitchen.

House 14

House #14 once belonged to the psychic Madame de Thebes, who lived here in the 20th century. She predicted the downfall of the Third Reich and was eventually arrested and tortured to death by the Gestapo for her predictions, which, as we all know, finally came true. This house now hosts items favoured by fortune tellers, like tarot cards, skulls and books on astrology.

House 15

House #15 contains an exhibition dedicated to the goldsmith’s workshop. In addition to living in these houses, many craftsmen used them as studios. Inside this little house, you’ll find a small Renaissance desk, goldsmith tools, an outfit that such craftsmen would have worn during the period, and various other items of decor that such a man would have owned.

House 16

House #16 is a recreation of the kinds of tavern inns that would have served the Golden Lane and Prague Castle residents in the Renaissance period. A dimly lit bedroom, surrounded in rich animal furs and jugs of ale, surrounds the bedside.

House 23

House #23 is a goldsmith’s workshop. Displaying antique jewelry both on the exterior and interior, there is a myriad of tools of the goldsmith’s trade on display. A fur apron sits on the chair, as it was used to catch any of those precious flecks of fold the smith would be working with. One can only imagine the kinds of requests these goldsmiths would be making for the Kings and Queens of Bohemia and their court.

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House 27

House #27 contains an exhibition dedicated to herbalists. Herbalists were the doctors, pharmacists, dermatologists and makeup artists of the 15th century. They cured diseases, healed wounds and served both the rich and poor. Their materials consisted mostly of flowers, powders, seeds and spices. Inside you also have a modern-day beauty products shop selling all sorts of natural creams and tonics made in the Czech Republic from regional ingredients. I’d seen this brand elsewhere in the city, but buying it in the old home of the original herbalists felt extra special.

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Medieval Armoury

At the end of the lane, one of the houses houses a medieval armoury and textile displays. Visitors can even try shooting a crossbow in the makeshift range they’ve set up inside. Although this little street might seem inconsequential against the majesty of St. Vitus Cathedral or the Royal Residences, seeing how the everyday people who built the foundations of the city lived, is truly an eye-opening experience.

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Prague’s Golden Lane is a must for any traveller. From its vibrant and well-preserved medieval architecture to its historical significance and rich cultural heritage, the Golden Lane offers a unique and unforgettable experience. Whether you’re a history buff, an architecture lover, or just looking for a fun and immersive day out, the top ten sights on this walking tour are sure to captivate and delight.

The post The Top Ten Things to See on a Walking Tour of Prague’s Golden Lane first appeared on The Creative Adventurer.

How to Cruise along the Grand Canal?

Most of the houses which now line the Canal are named after the original families who first settled here and grew this great city. Taking a trip down the Canal is like taking a trip back in time. And while it is an essential thing to do while in Venice, it doesn’t mean spending a pretty penny, renting out a gondolier for an hour or taking a cheesy river cruise.

Since Venice is a city built on the water, there are no roads and the only way to get around is via water buses called the Vaporettos. A 1-day pass for the Vaporetto will cost you 25€, or a single 75-minute ticket is 9.5€. For the purposes of this tour, a single ticket would do you just fine if you plan on walking your way around the rest of Venice for the day. While they might not look as elegant as the gondolas, they take the very same route and pass by all the same iconic landmarks for a fraction of the cost. 

Table Of Contents

1. How to Cruise along the Grand Canal?
2. Ferrovia Vaporetto
3. Scalzi Bridge
4. San Geremia
5. Fondaco dei Turchi
6. San Stae
7. Ca' Pesaro
8. Traghetto
9. Ca D'oro
10. Palazzo Morosini Brandolin
11. Mercato di Rialto
12. Rialto Bridge
13. Palazzo Corner della Ca' Grande
14. Palazzo Barbarigo Venice
15. Ca' Foscari
16. Grassi Palace
17. Ca' Rezzonico
18. Palazzo Loredan dell'Ambasciatore
19. Ponte dell'Accademia
20. Palazzo Cavalli-Franchetti
21. Peggy Guggenheim
22. Basilica di Santa Maria della Salute
23. Santa Maria Maggiore

Ferrovia Vaporetto

Set out as early as you can manage. Venice is a busy, busy city and the earlier you start your day the more you’ll have the city to yourself. We’re staring our tour at the Northern most point of Venice, at the Ferrovia Scalzi Terminal, and traveling east along the Grand Canal.

Get a seat near the edge of the boat to get the full view of the wonderful scenery. Watching the buildings pass by as you cruise along the river is like being transported into another world of fantastical architecture and ancient designs. I’ve included a googlemap of all the landmarks at the bottom of this post so you can follow along as you go. Come with me now on a tour down the Grand Canal.

Scalzi Bridge

The Scalzi Bridge is the first of three bridges you’ll pass under on your tour of the Grand Canal. While there are dozens of bridges to be found throughout Venice, there are only three which cross the extremely wide Grand Canal. The Scalzi Bridge is thin and is one of the more modern designs along the river. The original bridge built here was called the “Austrian” bridge and was built of iron. The stone replacement is much higher and allows for larger boats to pass underneath.

San Geremia

As you continue along the canal you’ll pass the back end exterior of San Geremia Church. Its stunning white dome with slim silver cross atop is one of the landmarks of this little area of Venice. This church was built in 1753 and houses the remains of Saint Lucy. The layers of architectural styles and colours on this church make it look like a layered wedding cake.

So many houses and palaces along the canal don’t have special names or histories but each one has a definitive character. Venice has always been an influential place for artists. As such the use of colour throughout the city is always extremely present. It’s hard to find a single dull building in the entire place. Residents decorate their faces with brightly painted wooden shudders, fantastical balcony flower boxes and stunning wrought iron designs.

Fondaco dei Turchi

Below is the Fondaco dei Turchi, once the seat of Venice’s Turkish population. Originally built in the first half of the 13th century, it is a perfect example of Byzantine design. rich use of colour and intricate stone work was of the utmost importance in Byzantine design. In the 17th century the vast majority of the Turkish population turned this building into a one-house-ghetto that housed hundreds of people as well as served as a warehouse and market for Turkish traders. Today it is the home of the Natural History Museum of Venice, which features a beautiful collections of flora and fauna, fossils, and a small aquarium. A feature which many of these Venetian houses have is the open porticos along the river’s edge which allow boats to pull right up to the interior of the house. Like a Renaissance version of a garage.

San Stae

Continuing along the Northern portion of the canal we pass San Stae. San Stae was built in 11th century and was once a rather subdued and unassuming building. But in the 17th century it was renovated by the Swiss master Domenico Rossi. Its powerful and striking baroque statues which cover the facade are unique due to their active forms which jump and leap out of their marble prison and give great life to this unassuming and otherwise small church.

Ca’ Pesaro

Right next to San Stae is the Ca’ Pesaro. The Ca’ Pesaro was once the residence of Leonardo Pesaro, to whom the building is still named after. Ca’, you’ll hear this word frequently throughout Venice. Ca’ is short for ‘casa’, the word for house in Italian. This building is uniquely designed with repetitive and heavy use of pillars that adorned the entire building. Building started in 1659. The architect was inspired by the chiaroscuro style of painting being employed during the Renaissance. Chiaroscuro is the use of strong contrasts between light and dark.

Here the architect used that same dramatic effect with his arches and columns. Creating an unmissable effect to any passers-by. The Pesaro family has turned its residence into a wonderful museum dedicated to 19th and 20th century paintings and sculptures which you can view today. It is only of the most impressive collections in Venice and highly recommended if you’re here for a few days.

Traghetto

While floating along the river you’ll pass by various less opulent, black gondolas being operated by men in simple black and white striped shirts. These are called ‘Traghettos‘. Inside these gondolas are business men, local, residents and even some tourists. These are not the tourist gondolas which go for hundreds of euros an hour, these gondolas cost only €2 and will take you across the large stretches of the Grand Canal which don’t have a bridge large enough to cross over. Otherwise you’re stuck walking around which can take a significant amount of time. So if you’re in a rush or just too tired to go the long way around, these little gondolas are the ticket! Plus, if you’re looking to experience riding in a gondolas without paying a ton of money, this is how you can check that box off your bucket list.

Ca D’oro

The Ca D’oro is one of the most fantastical buildings on the canal. The pale, multicoloured marbles along the facade makes it looks like a softer water colour paiting floating on the river. Ca’ d’Oro means ‘House of Gold’ as the facade was once covered in a thin coating of gold leaf. The palace was originally built in 1428 for the Contarini family, who were basically the royal family of Venice in the 14th century. This palace features some of the best Gothic architecture in Venice.

In Venice, gothic architecture wasn’t as dark and severe as it might have been in England or even on the mainland. In Venice, Gothic architecutre was more floral and leaned towards the Baroque. Today the palace houses the Galleria Giorgio Franchetti. The Gallery is a collection of art from the Baron Giorgio Franchetti. He donated all the works he had accumulated over the year to this public gallery to be enjoyed by the public after his passing.

Palazzo Morosini Brandolin

The facades in Venetian architecture are one of the best ways to identify which period the building was made in. Byzantine houses featured thin, horseshoe shaped arches with simple motifs on the capitals. Gothic houses have intricate rib traceries on top of their arches (as can be seen in the Palazzo Morosini Brandolin below) along with quatrefoil designs. Renaissance houses are simpler with bold projecting roof cornices and wide arches. Finally the baroque houses have circular headstones, and cherubs carved into the windows along with a bold use of ornamentation.

Mercato di Rialto

The old Venetian Marketplace still stands today and even still serves as one of the major places where Venetian locals shops for their every day groceries. You can spot the market easily along the River, just look for bright red drapes hanging behind wide white arches. These protect the food from inside from the weather. The building was originally a Gothic construction but the newly renovated design was made in 1907, but still preserves much of the original architecture. If you are close enough, check out the carved capitals on the end of the arches, each one is carved in the shape of a sea or sea creature since the main source of the market’s income both now and when it was first built was the freshly caught seafood from the ocean.

Rialto Bridge

The Rialto bridge is the oldest bridge in Venice. It was built by Antonio da Ponte in 1591. Its repetitive and powerful porticos that line the top of the bridge was a point of contention amidst Venetian architects of the time but now the Rialto Bridge is one of the most iconic images of Venice and it is because of its unique and daring design. If you arrive early in the morning you might see the bridge in all it’s architectural glory but as the day draws one thousands of tourists pour onto the bridge and it is packed to the gills, making some of the details hard to make out. Another great reason to come as early in the morning as you can manage.

Palazzo Corner della Ca’ Grande

Since Venice was such a wealthy city for many many years, hundreds of merchants flooded the city. Many of these merchants were foreigners and in 1228 a building was constructed to house all the “German” merchants. Despite the name, the merchant house included Poles, Czechs, and Hungarians all who traded goods inside the walls of Venice. This building was like the New York Stock exchange of its time. The sound of angry, loud and boisterous traders often flooding into the Grand Canal.

Palazzo Barbarigo Venice

My favourite building on the Grand Canal is the Palazzo Barbarigo. It was originally built in the 16th century and features an intricate mosaic applied to the facade. Each of the pieces of glass used in the mosaics were from nearby Murano, famous for its glass craftsmen. Photos cannot do justice to the way the light hits the colourful patterns and reflect off the water. The mosiacs were applied in 1886 when Barbarigo, who owned one of the glass factories in Murano, bought the property. He used the exterior of his house like a form of publicity for his incredible glassworks. In the famed St. Mark’s square you can visit the grand Basilica whos entire interior features more incredible glass mosaics. Barbarigo was so inspired by St. Mark’s Cathedral and took this inspiration into his own home.

While travelling down the canal be sure to study the boat docks which many of the large palazzos have in front. Each one has their own colour scheme, making the entire canal a river of wooden rainbow bulrushes.

The closer you get to St. Mark’s square the more and more traditional gondolas you’ll see travelling down the river with tourists inside. These large black gondolas are incredibly detailed with sumptuous red velvet interiors.

Ca’ Foscari

One of the things that makes the Ca’ Foscari so unique is that it has four floors, an architectural innovation for houses which are built on top of the water. It is designed in the Late Gothic style with a myriad of ornate windows. The tan brickwork in contrast with the white marble creates a beautiful juxtaposition against the blue sky.

Grassi Palace

The Grassi Palace is a beautiful example of the modern and neoclassical coming together is become the future of Venetian architecture. In Venice, keeping the historical artistry of the canal is so important but if there is no progress and modernization the buildings will eventually sink beneath the waves. When the Fiat Motor Company bought the palace they did extensive restorations and renovations to bring the palace back to its once great glory while also ensuring it would last for another century or more.

Ca’ Rezzonico

The enormous Ca’ Rezzonico was built by two of Venice’s greatest architecture in 1660. Baldassare Longhena and Giorgio Massari created the landscape of the Grand Canal and influenced architects both in Italy and all over the world. My favourite part of the building are the wide, oval windows on the top floor which resemble portholes on a massive ship. The building currently houses a fantastical museum where you can tour over 40 different rooms which replicate life in Venice in the Rococo period. Lush furnishings and elaborately designed fabrics make you feel like a queen, even for a day. There is even a reconstructed pharmacy which you can explore.

Palazzo Loredan dell’Ambasciatore

The Palazzo Loredan is a gorgeous example of Gothic architecture. The facade is decorated with ogee arches and quatrefoil windows. The Palazzo was built in the 15th century and was the birthplace of two of the Doges of Venice. A doge is much like a European Duke oversaw much of the functions of Venetian society. The Palazzo Loredan became a hot spot for Venetian aristocrats and Mozart even entertained here.

Ponte dell’Accademia

The Ponte dell’Accademia is the gateway into what I believe is the most scenic part of the canal. The first bridge which crossed this span of the waters was built as early as 1488 but the current wooden bridge design was built in 1933. While most bridges around this time were being built in the more resilient material of stone, designer Eugenio Miozzi insisted on using wood to preserve the more natural look which wood exumes.

Palazzo Cavalli-Franchetti

As you pass under the great Ponte dell’Accademia, you see one of the most iconic views of Venice. On the left side of the Canal is the Palazzo Cavalli-Franchetti. The building is painting sunflower yellow and it absolutely glimmers against the blue sky and teal waters. The palace was built in 1565 and is one of the most incredible examples of Venetian Gothic architecture. Today the building houses various exhibitions and congresses.

Peggy Guggenheim

Coming around the bend you approach the bright accented Peggy Guggenheim Museum. Although this building now contains Venice’s seminal modern art museum, it was once the home of famed art collector Peggy Guggenheim. Peggy adored Venice and curated the art in her home not to please the rich and uppity art crowd, but to please herself and her family. The collection feels so personal while also containing some incredible pieces from famed artists of the 20th century.

Basilica di Santa Maria della Salute

As we approach the great St. Mark’s Square we pass the bright white shining gem of the end of the Canal, Santa Maria della Salute. The grand double domed and octagonal design makes it stand out from the other churches along the canal. The church was built in memory of all those who died during the great plague of 1630.

The church was designed in the baroque style by Baldassare Longhena. Since the church was built in response to the plague, much of the art references Death. The contrast between the darker subject matter and the bright white stone and marmorino brick is a stunning juxtaposition. The facade is decorated with marble statues of the Virgin Mary along with figures of Saint George, Saint Theodore, the Evangelists, the Prophets, Judith with the head of Holofernes.

Santa Maria Maggiore

As your Vaporetto turns towards St. Mark Square you get a glimpse of the island church, Santa Maria Maggiore which stands opposite the great square. San Giorgio Maggiore was designed by Andrea Palladio in 1566 in classical renaissance style. The white marble facade gleams against the blue waters. The red brick buildings surrounding it, along with the bell tower, mirror the campanile in St. Marks Square. From the top of the tower, there is one of the most stunning views of the city.

Our final destination is St. Mark’s Square, the drawing room of all Europe. Approaching it from the waters you get an incredible view. I was on pins and needles as the boat pulled into the docks and we were let out to explore this historic square. You feel like one of those first European travellers who visited Venice in the Renaissance to experience all the wondrous art and culture which Venice was so famous for and still is to this very day. While there is SO MUCH to explore on land, taking this journey down the canal is the perfect introduction this city built on top of the water and the magnificent architecture which transformed the city into a dreamland unlike anything you’ve ever seen before.

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About the Rijksmuseum Research Library

The Rijksmuseum Research Library is the definition of “architecture porn.” It is the crown jewel of the Netherlands’ art history collection. Books and ephemera have been collected since 1885 for the group and include catalogues from auctions and exhibitions, periodicals and annual reports, photography, iconography, Indian miniatures, Chinese paintings and bronzes, as well as Japanese prints and sculptures. The library was built along with the rest of the museum in 1885 by Pierre Cuypers in Renaissance and Gothic architectural styles. The decorative embellishments are still seen in the wrought iron railings and swirling staircase.

The museum staff use the library daily, researching some of the more obscure pieces of the museum’s collection or other art history artifacts they received. This isn’t just a beautiful building but a functional one where the museum’s day-to-day operations occur. The library has a buzz to it, much like any office but set in a Gothic, court-like setting.

Opening Hours & Access

The library is open to visitors Monday to Friday, from 10:00 AM to 5:00 PM. It is closed on weekends and public holidays. The library is free to visit and does not require a ticket. However, you will need to register in advance to use the reading room.

How To Borrow a Book

If you want to visit the library and take out a book, all you need is a Photo ID to register for a library card. But be aware that some books cannot leave the library. You can check online to see if the book you’re interested in is available for borrowing.

External visitors (tourists) are not permitted to borrow books or periodicals. But you can still browse the collection and read the books while you’re in town. On request, some items can be scanned, so you can take a piece of a book home with you if you are so inclined. They have gone out of their way to ensure this information is available to everyone, and more people can learn more about art and history!

About the Collection

There are about 400,000 volumes in the collection. The online web catalogue contains about 300,000 monographs, 3,400 periodicals and 40,000 art sales catalogues. And there are still about 50,000 art sales catalogues published before 1989 that have yet to be entered into the system.

The Rijksmuseum museum and library just finished undergoing extensive renovations, and as a result, has created a special reading room for visitors. Creative Adventurers are encouraged to come into the reading room to read items from the library since they cannot borrow them. The reading room also has a comprehensive collection of historical reference books. A staff member is on hand inside to answer any questions you might have about the collections or the library itself. This is such a great resource, so don’t miss out on this opportunity if you are interested in art history.

The Rijksmuseum Research Library is a must for anyone interested in art and culture, offering a unique opportunity to explore the collections and research projects of one of the world’s leading museums.

Happy Travels, Adventurers

The post Guide to Visiting and Exploring the Rijksmuseum Research Library, One of the Most Beautiful Libraries in the World first appeared on The Creative Adventurer.

Table Of Contents

1. Access & Admission
   • Accessibility
2. History
3. Entering the Gallery
4. The Sistine Madonna
   • The Cherubs
5. The Sleeping Venus
6. The Portrait of a Boy
7. The Tribute Money
8. The Sacrifice of Isaac
9. The Archangel Michael Vanquishing the Devil
10. The Dresden Triptych
    • St. Catherine
    • St. Michael
11. The Drunken Hercules
12. Memento Mori
13. Girl Reading a Letter at an Open Window
14. The Procuress
15. Lucas Cranach, the Elder
    • Museum Cafe

Access & Admission

The Dresden Old Master’s Gallery is located in the heart of Dresden, Germany. It is situated in the historic center of the city, in the same building as the Royal Palace, which is now home to the state art collections of Saxony. The museum is easily accessible by public transportation, with several tram and bus lines stopping directly in front of the building. Visitors can also reach the museum on foot from the main train station, which is only a few minutes’ walk away.

The Museum is open daily from 10 a.m. to 6 p.m. and is closed on Mondays. Tickets cost €14 for adults, €10.50 for students and seniors, and anyone under 17 is free. Buy tickets online in advance to ensure access to the museum on busy days.

Accessibility

The Dresden Old Master’s Gallery has barrier-free access. There is
step-free access via Theaterplatz and via the Zwingerhof. There is an elevator next to the museum entrance. Ask staff for any additional assistance.

History

In 1560, the Art Chambers of Saxony declared that paintings and sculptures were “lesser pieces of historical importance” and chose to favour revolutionary technology and scientific advancements. But when Augustus II the Strong came into power, the future looked bright for Germany’s art collections. Augustus II (and his son, the aptly named Augustus III, who would eventually succeed him) had a deep appreciation for art.

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Their family began collecting significant pieces of European art from different periods. During their reigns, the German collection more than doubled in size. With this influx of new pieces, the royal collection had to have a beautiful place to be housed. Architect Gottfried Semper, who also designed the Semper Opera House, was asked in 1838 to build a gallery to store all these famous works of art. In 1855, the new Royal Museum opened to the public.

During WWII, the museum was closed, and all the essential pieces were sent away for safekeeping in mansions around Germany. Unfortunately, some works were still lost after the invasion of the Red Army despite being saved from the bombing. It wasn’t until the late 60s that some of the lost paintings were rightfully returned to the people of Dresden. To this day, there are still more than 450 pieces missing.

Entering the Gallery

Entering the gallery, you pass through a set of enormous wood-carved doors. They are three times the size of a regular door and are incredibly heavy. The giant iron knobs creak as you push them open. It feels like entering an old mansion rather than a modern museum. After paying for your ticket, you can leave any cumbersome bags or coats downstairs in the locker room. You can then head up the ornate staircases to the galleries. The staircase is a reconstruction covered in beautiful grisaille (“a method of painting in grey monochrome, typically to imitate sculpture”), making the walls appear to come alive despite being simple plaster.

The first thing you notice when you walk into the first gallery is the colour of the walls. This vibrant red is used to support the entire collection. As you move from room to room on the first floor, full of Italian artwork, you will only see the walls painted in this same colour of red. As you move to the Dutch and Flemish painters, the walls change to green. Finally, the Spanish and French artists are all displayed on a blue-grey-coloured wall. There are so many memorable pieces in the gallery, but I wanted to share some of the ones that struck a chord with me and whose powerful imagery still lingers in my mind.

The Sistine Madonna

The Sistine Madonna, also called the Madonna di San Sisto, was painted by the Italian artist Raphael Sanzio in 1512. It stands at the back of one of the larger galleries. The lighting in this room is slightly dimmer than the rest of the exhibits, and Madonna’s robe’s bright red and blue seem to glow in the distance.

The piece was designed to fit above the altar in the church of San Sisto, Piacenza. Giorgio Vasari called it “a truly rare and extraordinary work,” and, looking up at it in person, you know what he means. This piece was the crowning glory for Augustus the Strong, who bought the work for over 100,000 francs. He even had the painting hung in his throne room when it was first brought to court and claimed that it would put visitors into a state of religious ecstasy when they looked upon it.

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The Cherubs

But what is most curious about this painting is not the four figures prominently featured in the foreground but the two little cherubs floating at their feet. These cherubs have become iconic in their own right. I’d seen these angels all over the place when I was younger and never knew they were a part of a larger painting. According to legend, when Raphael was painting the Madonna, the children of his model would come in to watch him work. He was so taken by the children and the way they would stare up at their mother he just had to incorporate them into the painting — staring up for eternity, awestruck at the mother of God.

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The Sleeping Venus

The Sleeping Venus, also known as the “Dresden Venus,” is a painting by the Italian Renaissance master Giorgione. This piece is one of the most erotic pictures in his oeuvre. When you look at it in person, it’s vexing. Her skin feels like you could reach out and touch it. She seems vulnerable, lying there without her clothes, drawing all eyes toward her naked flesh. Giorgione died before he could finish the work. It was eventually completed by the infamous painter Titian, who would have a successful career producing works of beguiling women.

Although she is nude, this isn’t what makes the work so sensuous. The woman is lying with her arm raised and her hand resting on her groin. If you look closely, the painter has made great pains to paint the landscape in a way that mimics the shape and curves of the woman’s body. It makes the viewer feels as though this dominant woman is shaping the world with the power of her body.

The Portrait of a Boy

This Portrait of a Boy by Bernardino Pinturicchio is an excellent example of Renaissance art and a great representation of childhood. The boy in the painting seems to be alive, his eyes looking right at ours as if he had been looking away, then was startled and turned to face us. He seems sad, almost annoyed, portraying the epitome of youthful grumpiness.

The Tribute Money

Titian‘s The Tribute Money depicts the Pharisee’s attempt to catch Christ with trick questions. They asked Christ whether it was lawful to pay taxes. But no matter how he answers, he will be trapped. Instead, Christ responds to the man to hand him a coin and says, “give to Caesar what is Caesar’s and to God what is God’s.” The painting is so expertly painted you can almost feel the tense interaction between the two. Christ seems calm, his hands relaxed despite encountering such accusations. The Pharisee’s hands are dark and crumpled up, his face wrinkled and menacing.

The Sacrifice of Isaac

Andrea Del Sarto‘s The Sacrifice of Isaac is a heartbreaking painting that is emotional and full of action. As if you’ve just caught them in the act, God is testing Abraham’s faith by commanding him to sacrifice his only son, Isaac. Abraham is prepared to comply, but God sends an angel to stop him. If you look closely, you can see the painting is not finished, giving scholars a chance to see the different stages the painter took while working on his masterpiece.

In my opinion, the facial features make this painting so compelling. Look at the fearful expression in the boy’s eyes. He is looking right our way, seemingly calling out for help and asking us to step in. Abraham has a tear in his swollen eye, and his mouth hangs open with relief as the angel proclaims that his son shall live.

The Archangel Michael Vanquishing the Devil

The Archangel Michael Vanquishing the Devil, an action-packed scene by Tintoretto, is a brilliant example of the painter’s artistic style. He loved group scenes full of theatrical performances. The entire environment is saturated in divine light. The angels are driving away Satan, portrayed as the seven-headed dragon. One of the angels uses a lance to cast him back down to hell. This forms the dynamic axis, giving the painting an intense and active feel.

The Dresden Triptych

The Dresden Triptych is a tiny hinged altarpiece completed by the early Netherlandish painter Jan van Eyck in 1437. Considering it is such a small piece, the painting may have been used for private prayers in a household or as a portable altarpiece for a wealthy clergyman. The triptych is embedded in a beautiful golden frame with script engraved along the edges.

The structure built around the painting highlighted the art and protected it from damage. The center of the frame depicts the Virgin and Child sitting inside a magnificent cathedral or church. They are sitting upon a large, canopied throne with dozens of ornate columns flanking either side of the chair. The columns are dark, painted red, orange and grey, conveying a “sense of airy silence.” 

Mary is draped in a dark red and richly embroidered gown. This dress is the most eye-catching part of the frame, and you are drawn into her. Contrasted against the dark red is the naked baby, with his hands outstretched, asking the people to come to him and “Learn of me, for I am meek and lowly in heart.”

St. Catherine

St. Catherine and the Archangel Michael are on the Virgin and Child’s other side. Compared to the darker environment the Virgin sits in, the two saints are bathed in holy light from the stained glass windows behind them. Both St. Michael and St. Catherine are dazzling in their appearance. They have worn only their best to come and meet Christ’s child. St. Catherine is dressed as she would have been when she was a princess before her torture and execution for her religious beliefs. She is stunning — her hair worn down, crowned with a tiara.

The blue of her dress, shining in the light, seems to almost sparkle. It’s as if God is thanking her for her sacrifice and making her saintly form the epitome of her earthly beauty. But her trials are not forgotten in this painting. At her feet rests the wheel on which she was tortured. Against the wall rests the sword with which she was beheaded.

St. Michael

St. Michael is dressed in brightly coloured armour emblazoned with jewels. But what is most fascinating about Van Eyke’s representation is his outrageously coloured wings! They seem almost bird-like in their appearance and make him all the more fantastical. He stands upright with his lance and helmet in hand at the service of the Virgin and Child.

Like many devotional paintings, the donor can also be found in this picture, with the hand of St. Michael resting on his shoulder. His hands are in prayer, and he is dressed in a long, green cloak similar to the ones worn in the Burgundian court. His gown is of high quality, trimmed with fur and accented with a red velvet hood. These are all clues as to what kind of man this donor was. The man looks over to the Christ child with such dedication in his eyes, honoured to be in his presence.

The Drunken Hercules

In contrast to the delicate beauty of the Dresden Tryptic, Peter Paul Rubens’ The Drunken Hercules is a rough portrayal of men falling from grace. Hercules, the hero of so many great stories, is portrayed here as succumbing to the vice of drink. The wine has robbed him of his strength, and he requires the help of a satyr and wood nymph to make his way safely through the forest. The painting seems to serve a moral theme to the viewer — drinking too much can have drastic consequences for even the strongest of us. But for me, it also shows that even the powerful must fall. Those close to us will carry us forward until we regain our strength to face a new day.

Memento Mori

One of my favourite Dutch still-lives from the collection is painted by Jan Davidsz. De Heem. This one is called Memento Mori, Latin for “Remember Death.” Still, lives were incredibly popular in the 1650s, and many portrayed bouquets of flowers, food, drinks, and objects placed in a balanced composition against a dark background. But when we look closer and study the symbology of every little grain of sand, rose petal or sea shell, we learn there is much more under the superficial surface of these paintings. The flowers in full bloom, their leaves are eaten by insects and on the verge of death, remind us that time isn’t to be wasted on vanity and empty splendour. Rather it’s about living and striving for virtue in all our actions. The stalks of grain on the table represent Christ and signify the resurrection. 

Girl Reading a Letter at an Open Window

Johannes Vermeer is one of history’s most celebrated painters. He is known for his intricate attention to detail and his use of realistic light and shadows. Girl Reading a Letter at an Open Window is a perfect example. It was painted between 1657-1659 and depicts an everyday-looking Dutch woman. She is standing by an open window, gently holding a letter. But this painting is more than just a lovely woman. It’s a tale of betrayal and forbidden love. The open window represents the woman’s desire to escape her domestic life. The half-eaten fruit symbolizes her affair.

The letter she holds in her hands is from her lover, either planning to continue their illicit affair or perhaps to call things off once and for all. We know love is a prominent theme of this piece since x-rays have revealed that Vermeer once painted a small Cupid in the corner of the canvas but ultimately covered it up with drapes. Perhaps he wanted the imagery to be subtler, allowing the viewer to draw conclusions.

The Procuress

Jan Vermeer’s The Procuress is a very controversial painting portraying the reality of women’s plight in the 16th century. The man in the front of the picture, perhaps a soldier, is fondling her breast in the sight of all the other men in the room. At the same moment, he drops a coin into her outstretched hand. We can assume this is payment for sex as the scene is thought to be inside a brothel. The Procuress, the old woman in the back of the frame, smiles down on the scene.

The young lady in yellow smiles meekly, but her cheeks are flushed red with fear. The closeness of all the characters in the scene is meant to make the viewer feel claustrophobic. Most of the frame is occupied by the woven oriental rug, painted to the point of photorealism. The lovely design of the rug juxtaposes the involved scenes of patrons and prostitutes. Although it is a heart-wrenching display, it is honest and beautifully painted by this grand master.

Lucas Cranach, the Elder

The Dresden Old Masters Gallery houses over 50 paintings by Lucas Cranach, the Elder, making it the world’s most extensive collection of Cranach paintings. This tryptic is the story of various women martyred for their love of Christ over the years. St. Catherine is portrayed in the centre of the frame. She is the patron saint of scholars. Throughout her life, she converted over 50 pagans to Christianity in Alexandria during the 4th century. The female saints on the right side are St. Dorothea, St. Agnes and St. Cunigunda. On the left, we find St. Bara, St Usala and St. Margaret. 

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Museum Cafe

If you find yourself needing a break, stop into the cafe inside the Museum. Not only does it offer up some delicious treats and local cheeses (my personal recommendation), but it also has a beautiful patio that looks out over the adjoining square. This is the perfect place to rest, recharge, and people-watch!

Whatever you are drawn to within these walls, you’ll surely find something unique. This collection of artistic treasures is indeed a wonder and should not be missed on your next trip to Dresden.

The post Complete Guide to the Best Artworks inside the Dresden Old Masters Gallery first appeared on The Creative Adventurer.