UC-NRLF 
 
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 V 
 
GIFT OF 
 
 Peter G uld ur- anci s en 
 
THE 
 
 IKONOLOGICAL COLLECTION 
 
 OF THE KINGS OF DENMARK. 
 
 BV 
 
 CARL ANDERSEN, 
 
 INSPECTOR'^OF THE COLLECTION. 
 
 WITH NU.MKJiOUS KNGK.W INGS IN WOOD. 
 
 Rosenborg palace. 
 
 FOULAGSIUIUKAUET IN COPENHAGEN. 
 
 ((). II DKLBANCO. 0. K. C.-CAD CYLDENDALSKE BOGHANDEL. C. C. LOSE. 
 
 THIELE S rRlNTl.NG-OFFICE. 
 
 1S7S. 
 
I ^- y ^^ctcfT ^-^<^^-^-^^- 
 
Christian IV 
 
THE 
 
 CHRONOLOGICAL COLLECTION 
 
 OF THE KINGS OF DENMARK. 
 
 BY 
 
 CARL ANDERSEN, 
 
 In^|lCutur iif tlio coUcclioii. 
 
 WITH NUMEROUS EN(;RAVIN(;S in \V(J0D. 
 
 Rosenborg palace. 
 
 FORLAGSBUREAUET IN (COPENHAGEN. 
 
 (o. h. uelbancu. g. e. c. gad. gyl.kkniialskk hoghandel. c. c. lose.) 
 thiele's printing-office. 
 
 1878. 
 
J3 3rt7J 
 
 
 i 
 
CONTENTS. 
 
 Pafc 
 Introduction t 
 
 I. 
 
 The time before and under Christian IV (the Renaissance). 
 1448—1648. 
 
 The corridor 5 
 
 Christian IV's presencechamber 6 
 
 From the time of Christian I (1448— 148 i) 6 
 
 From the time of Christian II (1513— 1523) 8 
 
 From the time of Frederik I (1523 — 1533) 9 
 
 From the time of Christian III (1533— 1559) 9 
 
 From the time of Frederik II (1559— 1588) lO 
 
 From the time of Christian IV (1588—1648) 12 
 
 The bedroom of Christian IV 16 
 
 The workroom of Christian IV 20 
 
 n. 
 
 From the introduction of absolutism to the French revolution 
 (rococo style). 
 
 The time of Frederik III (1648— 1670; 29 
 
 The garden cabinet 3° 
 
 The dark chamber •. . 37 
 
 From the time of Christian V (1670— 1699) 4' 
 
 The marble chamber 4' 
 
 The south end-saloon 43 
 
 The tower room 54 
 
 The .Rose. 58 
 
 The time of Frederik IV (1699— 1730) 60 
 
 The mirror room 62 
 
 The north end-saloon 63 
 
 The tower room 73 
 
 From the time of Christian VI (1730 — 1746) 75 
 
 The smaller room 77 
 
 Tha larger room 80 
 
 Ml 08 16 
 
Pago 
 
 The time of Frederik V (1746— 1766) . 87 
 
 The south-east corner-room 89 
 
 From the time of Christian VII (1766— 1808) 95 
 
 The south-west comer-room 97 
 
 III. 
 
 From the French revolution to our own times. 
 
 From the time of Frederik VI (1808 — 1839) 103 
 
 The room of Frederik VI 104 
 
 The room of Christian VIII 107 
 
 From the time of Christian VIII (1839— 1848) 108 
 
 The room of Christian VIII 108 
 
 From the time of Frederik VII (1848— 1863) no 
 
 The room of Frederik VII no 
 
 The knight's-hall 113 
 
 The glass-room I19 
 
 The porcelain-room 1 22 
 
 The chamber of the Regalia 124 
 
 J 
 
Rosenborg palac 
 
Introduction. 
 
 In the beginning of the year 1606 king Christian IV bought 
 a number of private gardens and grounds, situated close outside 
 the ramparts of Copenhagen between the northern and eastern 
 gate, in order to form of them a large garden with a » Summer- 
 house ' , where he could seek repose , when he wished for a short 
 time to withdraw from the noise of the capital and neverthe- 
 less reside near it. Already in the third month of the named 
 }ear the work began, but, it is probable, it was not finished before 
 the year 1625, although the little palace — Rosenborg it was 
 called — long before its completion was inhabited by King Christian. 
 
 Rosenborg is built in the so-called German -Netherlands Re- 
 naissancestyle, which aimed at effecting a harmonious combination 
 of the Gothique and the Antique, by means of transferring the 
 principal forms of the gothic architecture: slender perforated turrets, 
 crenulated gables, pointed roofs, winding staircases &c. , but, on 
 the other side, by seeking its types in the Antique, where the 
 question of mere ornamentation was concerned. As for the palace 
 itself it is built of red bricks and sandstone from GuUand; the latter 
 is employed ornamentally throughout: borders, window frames, 
 figures, points, flatbands and embellishments, which all contribute 
 to bring animation and variety to the great facades. The edifice 
 consists but of one main-building with three stories. Its principal 
 fronts have a length of 150 feet and turn towards west and east; 
 the west-side has a turret, 160 feet high, the east-side three: two 
 square turrets, 116 feet high, and in the middle an octogonal 
 turret, 65 feet high. 
 
 In the course of time Rosenborg has undergone many changes 
 in regard both to its exterior and to the entire embellishment of 
 its interior; but it was left to the improved artistic taste of the 
 latest time, with its affection for the monuments of the Past, to 
 
redress the wrong. The restoration of the castle's exterior and 
 interior has (1878) been upon the matter completed. 
 
 Until about the middle of the 18 Century at certain times of 
 the year, namely spring and autumn, Rosenborg served as a resi- 
 dence for a series of Danish kings, of which the interior of the 
 building itself contains many a witness in the different rooms and 
 saloons, that in the course of time have been altered by the royal 
 inhabitants and refurnished according to the varying taste of the 
 periods. In passing thVough the personal appartments of these 
 kings, we therefore meet not alone the Renaissance, but also 
 the Rococo style in its different shades, as by degrees it deve- 
 loped itself. 
 
 Already in the time, when Rosenborg was a roj^al residence, 
 it was used as a depository for dresses, weapons, ornaments and 
 objects of art &c., that had belonged to the kings of Denmark 
 after Christian IV. These objects were however during a long 
 period collected and put aside without any critical selection, but 
 simply to preserve them because they had belonged personally to 
 the sovereigns. It was at the conclusion of the last and the 
 beginning of the present century, that the thought first awoke of 
 the historical significance, such a collection would receive from an 
 intelligent arrangement and the separation of heterogeneous objects. 
 The ever increasing interest for memorials of the past caused this 
 thought to grow and gave birth from time to time to many attempts 
 towards an adequate historical arrangement, which has at last re- 
 sulted in the present » Chronological Collection of the Kings of 
 Denmark* — a name the Rosenborg collection received by Royal 
 resolution Dec. 28, 1858, with intent that it should form a deposi- 
 tory of articles pertaining to modern times, so as to supplement, 
 in some degree, the Museum of the Northern Antiquities and, as 
 far as possible, with » Royalty « for central point, present a national, 
 historical picture of modern cultivation, during the absolute mon- 
 archical period from 1660 to 1848. 
 
 That which has assisted in no small degree to forward this 
 work — the honour of which is exclusively "due to the present 
 director of the Collection, Mr. J. J. A. Worsaae — has been partly 
 the fact, as we have said before, of the successive changes, which 
 the interior of the palace has undergone in the course of time, so 
 that it has come to form a natural frame for the chronological 
 arrangement of the objects, there by setting forth the characteristics 
 of every period for more clearly; and partly the circumstances, 
 that latterly, that is, from 1858, the historical material itself has 
 
been increased to a very great extent by the fire of Frederiksbor^ 
 palace and the dissolution of the Art -Museum. A considerabk 
 space has also been gained for the arrangement of objects, that 
 include those belonging to the last Century, during which Rosen- 
 borg has not been the residence of any king, and by the removal 
 of the royal cabinet of coins and medallions, which was formerly 
 located in the castle. By the arrangement of this space it became 
 possible, which want of room had prohibited before, to present 
 to view a very important period of culture, viz: the time before 
 and after the great French revolution: the termination of the 
 French Rococo- period (the Decadence), the Imperial Renaissance, 
 and our own time. 
 
 After having thus in a few words explained the intention and 
 plan of the collection, we shall only add, that it is not our pur- 
 pose in this book to give a full account of every object, contained 
 in the museum, but only to a.ssist in retaining the impressions, 
 which an attentive and careful survey of the collection has left in 
 the mind after a single visit. Just as during a hasty visit to a 
 large and varied museum it is best before all to fix the attention 
 upon that which impresses the character of the whole on the 
 mind, so it is our one sole aim, to recall to the memory of the 
 reader his transit from room to room and to freshen the principal 
 features of the outline of a great historical picture, on which we 
 hope the visitor has dwelt with pleasure for a short time 
 
 In passing through the rooms the following 3 principal periodes 
 must be well remembered as frames for the compartments of the 
 picture: i, the time before and under Christian IV; 2, the time 
 from the introduction of Absolutism until the French revolution; 
 3, the time from the French revolution to the present day. 
 
The time before and under Christian IV (the 
 Renaissance). 1448—1648. 
 
 1 his period, which, as will be remembered, also seeks to be 
 represented by the objects preserved in the last division of the 
 Museum of Northern Antiquities, forms a natural introduction to 
 the time of the Sovereignity properly so called. In it were col- 
 lected, and encreased day by day, the materials that sooner or 
 later must have led to an outbreak, in which the struggle between 
 the regal and aristocratic power would be finally decided. It is 
 therefore perfectly in order, that in a collection, whose object is 
 the illustration of the history of the sovereign power (absolutism) 
 should begin with the time, immediately preceding this; and it is 
 fortunate, that in Rosenborg we find materials, exactly adapted to 
 represent this antecedent period in a full, clear light. But the 
 natural ground for this lies in the fact that the castle, raised by 
 the great architect Christian IV in the flower of his age, continued 
 ever afterwards to be his favorite residence and thus must unavoid- 
 ably have come to acquire and retain many traces of this pre- 
 ference and of his occupations and manner of life within its walls. 
 The style of Christian IV — as we may justly call it because 
 we do see himself and the influence of his rich, strong Character 
 in his numerous Renaissance-buildings — is remarkable for a simp- 
 licity and taste, with strict attention in every respect to stability 
 and use, which forms a striking contrast to the encumbered mag- 
 nificence and show which appear in the declension of a later period 
 of culture. We can obtain a good idea of this from what the 
 interior of Rosenborg still retains from its earlier days in the rooms, 
 which contain that division of time, with which we shall here first 
 make acquaintance, namely i) the Audience-chamber of Christian IV, 
 2, his Bedroom and 3, his Workroom (study). 
 
5 
 
 A long corridor runs along the eastwall on the ground floor, 
 into which the visitor enters by the small flight of stone steps, 
 which lead from the north-east tower to the castle. This corridor, 
 which connects the two saloons at the extremeties of the lowest 
 part of the castle, has a beautiful gypsum roof, part of which is 
 of the time of Christian IV, and a flagged pavement. A winding 
 staircaise from the middle of the outermost wall leads through the 
 centre tower up to the other two stories of the castle. The walls 
 of the corridor are adorned with paintings; different pieces of 
 furniture are likewise found here, the most striking of which are: 
 
 A table (of the time of Frederik II) with an oblong stone-slab, 
 on which lines for a kind of game are incised. 
 
 A table with an artificial marble slab, the inlaying of which 
 represents a map of Denmark in the time of Christian IV, in 
 which Sleswick is designated by its ancient name Senderjylland 
 (>Suderjutland«, South-Jutland); the table is in all probability the 
 work of a Dutch artist. 
 
 The oaken door of a closet is placed on the wall, on which 
 the escutcheons of Denmark and Mecklenburg are richly carved. 
 The upper part forms a projecting cornice, on which are two 
 busts in metal of Frederik II and his queen. 
 
 Two portraits in relievo of Frederik II in alabaster, and two 
 busts of Charles I of England and of his queen, Henriette Marie. 
 These busts, of which the first is of particoloured, the other of 
 white marble, are the work of the renowned Italian Bernini. 
 Besides these there are the following paintings: 
 
 In the middle of the large wall hangs the genealogical -tree 
 of Christian IV with 6i portraits (from his grand parents of the 
 fourth degree). 
 
 In the southern and of the corridor: 
 
 Count Valdemar Christian. — Frederik III. — Ulrik Christian 
 Gyldenlove and Hans Ulrik Gyldenleve (natural sons of Christian IV). 
 — 3 portraits of Vilhelmine Ernestine (daughter of Frederik III). — 
 Christian > Albert of Holstein-Gottorp and his wife Sofia Amalia. — 
 Christian V. — Rantzau. — Christian Bjelke. — Bishop Jesper 
 Brochmand. — Lars Ulfeld. — Henrik Bjelke. — Ebbe Ulfeld. — 
 Jens Bjelke (twice). — Gregers Krabbe. — Ove Bjelke. — Sigx^ard 
 Grubbe. — Jergen Bjelke. — Anders Sorensen Vedel. — Preben 
 Gyldenstjerne. — Christian Rantzau. — Korfits Ulfeld. — 
 In the northern end of the corridor: 
 
 Otto Krumpen. — Peder Skram. — Birgitte Brockcnhuus. — 
 Holger Rosenkrants. — Erik Krabbe. — Hans Tavsen. — Ivar 
 
Thott and his wife. — Niels Hemmingsen. — Birgitte Goye. — 
 Frederik II. — Albert Goye. — Johannes Friis. — Peder Oxe. — 
 Henrik Rantzau. — Qveen Sofia. — Christian II. — Qveen Dorothea. 
 — Niels Kaas. — Jergen Rosenkrants. — Ludvig Munk. — Ellen 
 Marsvin. — Princess Maria (married with Magnus, king of Livonia). 
 Qveen Sophia as a joung girl. — Anne (daughter of Frederik II, 
 consort of James I, king of England). — Christian IV and Qveen 
 Anna Katharine (a full sized portrait). — The Electress Anna of 
 Saxony (daughter of Christian III). — And finally: Christian III 
 (a bust portrait engraved on a silver plate) and Ole Vorm (a bust 
 portrait; copperplate, engraved by Haelveg). — 
 
 A Knights -banner of silk from the period of Christian IV, 
 hangs over the genealogical-tree. It is divided into sqvares, red 
 and yellow — the colours of the house of Oldenburg — . The 
 monogram of Christian IV is in the centre, surrounded by the 
 initial letters of his motto: R. F. P. (regnum firmat pietas) and 
 the following device: NON IMPUNE ME LACESSES. 
 
 Over the northern door we see the Danish escutcheon as it 
 was in the time of Christian IV, over the southern as it was after 
 the introduction of Absolutism. The northern door leads into: 
 
 Christian IV s Presenccchaniber. 
 
 The walls in this saloon are of oak, divided by 22 richly 
 carved oak pillars, between each of which on panels are inserted 
 paintings (pastoral and hunting scenes), by dutch and flemish 
 artists. The flat ceiling is in the same manner decorated by pain- 
 tings on canvass and wood, and the floor is of marble. On the 
 beautiful chimney-piece, that stands between the baywindows in 
 the extreme northern wall, the date 1615 is inscribed. From the 
 window in the eastern wall a speaking-tube runs for 150 feet 
 through the wall; communicating with the saloon on the eastern 
 side. In the southern wall of the saloon there are four closets, 
 whose doors, when closed, correspond and make one with the 
 decoration of the reste of the wall. Of the contents of these closets 
 the following are most note worthy: 
 
 From the time of Christian I (1448—1481). 
 
 The Oldenborg horn. 
 
 This celebrated memorial of the past, which bears the usual 
 form of a drinkinghorn of the middle ages, is of silver, richly 
 decorated over the whole surface, partly with engraven figures of 
 
The Oldenborg honi. 
 
dragons and serpents, and partly with embossed or cast ornaments, 
 which are fixed upon it, besides being in many parts enamelled. 
 As regards the ornamentation the artist has evidently borrowed 
 his motive from the German age of chivalry. The whole, one 
 can suppose, has been intended to represent a burgh or walled 
 town, the spires of which form the lid and knob, in which the 
 points of the horn terminate, whilst the entrance is beneath the 
 two towers by which, and two griffins with out spread wings, the 
 horn is supported. There are also balconies, ladies playing on the 
 lute, knights, esquires &c. — in short a picture in miniature of 
 the life of chivalry is depicted in its many-coloured diversity. Of 
 the inscriptions on the horn we must notice principally that which 
 is twisted round the lid in monkish characters, to wit the names 
 of the three kings: Baltazar, Jacpar, Melcior, which would seem 
 to intimate that the horn had originally been intended for them. 
 Upon the knob sits a little savage holding a narrow scroll, with 
 the inscription: drinc al wt (Empty the horn!). 
 
 As regards the origin of the horn (of which however an old 
 myth tells us, that in the year 989 it was presented to count 
 Otto I of Oldenburg by a mountain nymph, who came out of the 
 mountain Offenberg and approached him with it, when one day, 
 having lost himself in the hunt, thirsty and discouraged he stopped 
 his horse there) a very probable surmise is, that Christian I caused 
 it to be made in 1474 by the sculptor Daniel Aretaeus, who was 
 called to Denmark from Westphalia. In this year Christian I had 
 been invited by the German emperor Friederich III and Charles 
 the Bold, duke of Burgundy, to repair to Cologne for the purpose 
 of mediating in the dispute, that had arisen between the arch- 
 bishop and the chapter in that city. Cologne was the city of 
 the Three kings, and the horn might have been intended as an 
 offering to the guardian saints of the town, in case the mediation 
 succeeded. This is strengthened both by the inscription before 
 spoken of on the lid and other tokens. — The horn until the 
 17 Century was preserved in the castle of Oldenburg, but after 
 the death of Anton Gynther it was brought to the artchamber of 
 Copenhagen. — 
 
 A silver capsule containing a lock of hair of Christian I. 
 
 From the time of Christian II (1513—1523). 
 
 A gold ring in which a little uncut Sapphire is set. Round 
 the circle is engraved: ave Maria gr. (gratiosissima). It belonged 
 
to the noble Elizabeth, the queen of Christian II, who received it 
 from her husband on the day of their marriage, August 12, 15 15. 
 
 EUzabeth was a daughter of Philip the Fair and sister to the 
 emperor Charles V. Three years after the flight of king Christian 
 from Denmark she died at a country-house near Ghent, in which 
 town she is interred. 
 
 The handle of a knife in gold with the monogram of Christian II 
 surmounted by a crown. 
 
 From the time of Frederlk I (1523—1533). 
 
 A small swordblade with the pivot (the hilt is wanting). 
 Upon the flat side of the blade can be read : Fridrich I Konge y 
 dannemarck og noric 1 530 (Fr. I king of Denmark and Norway 1 530). 
 
 From the time of Christian III (1533—1559). 
 
 A silver goblet with the arms of Denmark engraved on the 
 side. It belonged to Christian III. — A little silver gilt time- 
 piece < with the hourplate on the obverse side and on which we 
 further read the date 1557. It belonged to the queen of Christian 
 III Dorothea, princess of Saxe-Lauenburg, who died 1571. — 
 Queen Dorothea's bridal ornament o: a gift from the queen to 
 the town of Copenhagen. On a plate of silver gilt a wreath of 
 foliage and flowers, also silver gilt, is seen, which surround the 
 principal part: an eagle, which bears the Saxon escutcheon, with 
 the date 1557, and upon its breast a large uncut sapphire. Over 
 the eagle is set a clear emerald and sapphire and under it a 
 .saphire and amethyst, all of considerable size. The ornament 
 also contains .six large Norwegian pearls (there have evidently 
 been many more). 
 
 As is wellknown, in those da>s the town hall of Copenhagen 
 was the most fashionable place for festivals and assemblies in 
 honor of the marriages of the daughters of the most respected 
 and wealthy citizens. The gift was presented, that it might serve 
 as the bridal ornament of every such bride upon her wedding 
 day, and was for many generations held in time-honoured pos- 
 session and preserved in the town hall, from whence it was brought 
 some years ago to Rosenborg. 
 
10 
 
 From the time of Frederik II (1559—1588). 
 
 The order of the elephant of Frederik II. 
 
 It is of gold, rather flat, and ornamented with enamel and 
 other embellishments. On the one side, in a medallion, is a breast 
 portrait of the king in profile and 
 under it in blue enamel the letters: 
 M. H. Z. G. A. the kings motto: Meine 
 HofFnung Zu Gott Allein (my hope is 
 in God alone). On the other side, 
 also in a medallion, the letters F. S. 
 interwoven (Fredericus Secundus) and 
 underneath in blue enamel': T. I. W. B. 
 the wellknown second motto of the 
 king: Treu 1st Wild Brat (Wildbrat 
 — his dog — is faithful). The order 
 is suspended on a very finely finished 
 long gold chain, to bear round the 
 neck. 
 
 This example is of great interest 
 from its being the oldest in existence. 
 Of the order of the elephant see for 
 The order of the elephant of Frederik 11. the rest what is Said under Christian V. 
 
 The order of the garter of Frederik II. 
 
 This rare and valuable chain, which is about 21 ells long, 
 is formed of 26 round shields, knitted together by a sort of gold 
 cord. The shields themselves are double red roses in enamel, 
 surrounded by an interwoven blue enamelled band, on which is 
 inscribed the device: »Honi. Soit. Qvi. Mai. Y. Pense.« Under 
 the centre shield hangs the George and dragon in gold. On the 
 ribbon for the knee is a gold clasp; it shows traces of enamel 
 and is ornamented with rubies and diamonds. The ribbon is edged 
 with white pearls, the device is written in rubies. 
 
 The English order of the garter is looked upon as the first 
 European order. It was instituted by Edward III in 1350, but 
 received new statutes under Henry VIII April 23, 1523. The 
 dress of the order is an under-garment of white silke, interwoven 
 with silwer, a cap and feather, and a blue velvet mantle, upon the 
 left breast of which is placed an octagonal star with the cross of 
 St. George and the ribbon with the device of the order. The 
 
ribbon is borne under the left knee. The use of the chain 
 dates first from 1522. — The example here spoken of was con- 
 ferred on Frederik II with great pomp in the castle of Kronborg 
 August 13, 1582. 
 
 There have been 7 Danish kings, who have received this 
 order: i, Erik of Pomerania. 2, Hans. 3, Frederik II. 4, Christian IV. 
 5, Christian V. 6, Frederik VI, and our present king, whose in- 
 vestiture took place in Amalienborg palace April 25, 1865. 
 
 A Gold ring with a blue Turquoise. Found in the coffin of 
 Frederik II in the cathedral of Roskilde, when his corpse was 
 examined in 1857. 
 
 A Toilet-glass in a silver gilt frame, adorned with garnets 
 and amethysts; a great curiosity, which is also implied by the 
 rich setting of the little glass. It belonged to Sophie (princess of 
 Mecklenburg) the queen of Frederik II, who died 1631. 
 
 A very large glass-goblet (15 inches high and 5 inches 
 in diameter) from which Frederik II once, in the year 1568, drank 
 with many princes and noblemen, to see who could drink the 
 most, of which the names and marks of the king and his fellow- 
 champions, scratched upon the glass, are a witness. 
 
 Numerous plates, with disks of amber and borders of 
 .silver, on which are engraven two escutcheons. They came from 
 Germany as a present to Frederik II. 
 
 A gold spoon engraved with the Danish arms. 
 
 A knife with an ebony handle on which are inlaid in 
 silver the initial letters of the motto: M. H. z. G. a. and the 
 date 1570. 
 
 A scepter in wood with inlaid ornaments of silver (scenes 
 from the chase and similar subjects). It belonged to Frederik II. 
 At the surprise of Kronborg by the Swedes it fell into the pos- 
 session of Sweden, but was returned as a gift to Frederik VII. 
 
 Many weapons that have belonged to Frederik II, amongst 
 others two swords with cross-hilts; the blades if ells long. Two 
 finely finished pistols with wheel-lock (the keys to which bear date 
 1585). Two fowling-pieces, the one of which is interesting from 
 its having a little eye-glass fixed to the further and of the barrel, 
 through which to take aim. Three hunting-knifes &c. &c. 
 
 From the time of Christian IV (1588—1648). 
 
 King Christian IV on the death of his father was scarcely 
 1 1 years old , for which reason the principal power during his 
 
'3 
 
 minority lay in the hands of a regency. The gifted boy received 
 an excellent education, and when in 1 596 Christian himself assumed 
 the government of his Kingdom, the young ruler winced a love 
 of action and enterprise which promised well for his people. And 
 he ended as he began; even as to the last he called forth and 
 promoted arts, science and industry, and above all every under- 
 taking favourable to the general welfare, so he was always read)- 
 to fight for his native land and to ofier life and blood, when that 
 was threatened. He conducted 2 campaigns against Sweden, the 
 first 1611^ — 1613 (the war of Kalmar), in which he was victor, 
 and the second 1643 — 1645, in which he was unsuccessful. He 
 engaged in the 30 years war (161 8 — 1648), but again unsuccess- 
 fully, and in 1629 was forced to sign the peace of Lubeck. He 
 had for queen Anna Catharina af Brandenburg, who died 1612. 
 In 161 5 he married with the left hand a young lady of the name 
 of Kirsten Munk, from whom he separated in 1629 (K. Munk 
 died 1658). 
 
 A time- piece. A spuare (two inches high, b}- four inches 
 in length and breadth) silvergilt case rests upon lion's feet and is 
 ornamented on all sides with figures, flowers and lions, in beautiful 
 embossed work. Tiie dial-plate turns up, displaying under its 
 surface the following inscription engraved in Roman characters: 
 xAnno 1584 gaf Konning Frederick den Anden til Danemark och 
 Norge &c. sin Son Kristian dette Segeverk<. (hi the year 1584 
 king Fr. II of Denmark and Norway &c. gave to his son Christian 
 this time-piece.) 
 
 The coronation robes of Christian IV (August 29. 1596). 
 They are in the style of a Spanish knight (as are most of the 
 coronation robes of the Danish kings), and are both elegant and 
 costly: cloth of gold, interwoven with flowers of silver and silk; 
 the seams of the jerkin being' edged with silver braid. The bree- 
 ches have a rich trimming of silver lace. 
 
 The Mantle of the Order ofthe Garter of Christian I \'. 
 — His blood-stained linen (shirt, collar, handkerchief and wrist- 
 band), cap and velvet jerkin, which he wore in the seafight by 
 Fchmern (July 1=^1 1644). 
 
 'Many weapons amongst which must be particularly noticed: 
 
 The sword, with which Christian IV conferred knight- 
 hood. The blade is a Toledo, the hilt, in all probability of Danish 
 workmanship, is of gold. Its bar and pommel are ornamented 
 with table-diamonds and fine delineation in gold on blue enamel. 
 
 ./ 
 
H 
 
 The sword, with whicli Cluistiaii IV conferred knighthood 
 
 The mourning-sword he wore at the funeral of his eldest 
 son (November 1647). The hijt is of cut iron, and the blue blade 
 embellished with the arms of the Danish provinces — 
 
15 
 
 A sword with gold-plated iron hilt, bearing upon pom- 
 mel the Danish escutcheon and the kings monogram in enamel. 
 
 A sword (of an admiral?) with gilded hilt and with a scab- 
 bard, which is covered with black velvet, and has a gilded moun- 
 ting, that contains a little collection of instruments (a pair of 
 compasses, knife &c.) of very beautiful workmanship. Upon one 
 of them we see the date 1617. 
 
 A sword with a silvered iron hilt. On the blade is 
 engraved: »Si deus pro nobis quis contra nos«. It belonged to 
 Gu.stave Adolphus of Sweden, after whose death it was presented 
 to Christian IV. 
 
 Three fowling-pieces with wheel-locks; the barrels are 
 richly inlaid with ivory and mother of pearl; two of them were 
 probably presented to Christian IV on his coronation by a foreign 
 nobleman. 
 
 Lastly let us remark a cane with a silverbutton screwed on 
 it, containing a compass and silver pointer, whilst the .stick itself 
 contains different instruments (the square, a pair of compasses, 
 knife &c.). 
 
 P\irthermore the closets contains the following note worthy 
 objects: 
 
 A medallion in gold, which has probably belonged to an 
 ancient insignia of the Order of the Garter. It is flat and two 
 inches in diameter. On the front, in relief, upon an engraved and 
 enamelled background, St. George appears on a white horse, doing 
 battle with the dragon and surrounded by many animals. On the 
 enamelled reverse Joseph and Mary kneel by the Hoh- child in 
 the crib. 
 
 A splendid little gold piece: St. George standing by a 
 white horse, with upraised sword in act of striking down the 
 dragon. The whole adorned with enamel and a multitude of 
 diamonds, large and small. On the sword are three small pearls 
 It is about three inches high. 
 
 A scent-box, one inch two 1. high. By a chain, composed 
 of small death's heads of coral and of goldbeads, hangs the 
 principal object, which is a white enamelled death's-head of gold, 
 having at the top a rim of small jewels and a stud, that takes 
 off", when the box shall be opened. The head opens in two parts, 
 the one contains a sponge, the other six small departments, each 
 for its oi.vn perfume, the name of which is in.scribed on the re- 
 spective covers. 
 
i6 
 
 As regards the remaining objects in the presencechamber 
 the most striking are: 
 
 In the centre of the floor: 
 
 An embossed and engraved cabinet of gilded metal, inlaid 
 with ebony and resting upon four gilded metal lions. The leaf, 
 which lets down, bears on the outside the date 1580, but even 
 without this it would have been easy to assign to the furniture 
 within a few years the date, at which it was mode. Its entire 
 character (its constructive form, the many drawers, the delicate 
 woodwork and engraved and embossed metal ornaments) clearly 
 prove it an excellent specimen of the work of this kind, that was 
 general towards the conclusion of the i6te century, and principally 
 in Germany, from whence it certainly come. 
 
 On the cabinet stands a time-piece, that measures with the 
 stand and figure on the top i ell 5 inches. The stand is of 
 ebony, resting upon four shield-bearing lions. The upper part is 
 formed of a sort of six-circled crown, that terminates at the top 
 in a figure holding a halbert in the one hand. Under the curva- 
 tures, on a chair with the Brandenburg eagle behind it, sits a 
 figure with a crown and sceptre, surrounded by 7 smaller figures. 
 
 In the north-east corner: 
 A clock. Made in Strasbourg by Isaac Habrecht, who in 
 his day was renowned as a watchmaker and astronomer. With 
 the wooden foot, upon which it stands, it is 4 ells high. It is 
 very ingeniously constructed, indicating amongst other things the 
 changes of the moon and year, and possessing musical-works, bell- 
 chimes, twirling-figures, a crowing cock &c. ; in imitation of the 
 celebrated clock in the cathedral of Strasbourg. 
 
 In the north-west corner: 
 A vigorous and characteristically conceived metalbust of 
 Christian IV in his latter days. We do not know what master 
 produced this excellent work; the casting has been executed in 
 Gluckstadt. 
 
 T/ie bedroom of Christian IV 
 
 lies in the north-east tower by the side of the audience-chamber. 
 The upper portion of the walls is covered with green-watered 
 gold flowered moire; the under is formed in panels, which are 
 ornamented, amongst other designs, with one male and seven 
 female portraits and pictures of the kings favorite hounds » Wild- 
 brat* and »Tyrk«. The panels of the door contain a pair of 
 
Venetian prospects. The ceiling has a rich decoration of gilded 
 carving, which frames a painting — Medor and Angelika — and 
 the floor is of Gothland flagstone. The fire-place is in the north- 
 east corner. 
 
 The most striking objects here are: 
 
 In the closet: 
 
 The silvergilt compasses of Christian IV with date 1595. — 
 His ship's hand-lantern of silver. — Two small lamps in the 
 form of ships, with keels of rock-crystal. — A two-cared porce- 
 lain tankard, painted blue and white. 
 
 The cover bears a gilt plate, with an engraved inscription 
 dated 1723, but the tankard itself was brought from East India 
 in 162 1 by Ove Gjedde. 
 
 A pair of scales, with bowls and weights in silver; used 
 by Christian IV to weigh out gold and silver to the master of 
 the mint. — Some of Christian IV's turning toils (Two 
 flutes &c.). — Three goblets, of which the glass one with silver 
 cover, on which his monogram is engraved, was used, according 
 to tradition, as his favorite drinking vessel. Upon its sides the 
 arms of the Danish provinces are cut. On the other two, which 
 are silver (one gilded), the kings monogram appears; the ungilt 
 silver one bears also an inscription, denoting, that the cup was 
 made from money, which in the year 1600 the king had won 
 from four courtiers in a mutual bet, which of them first should 
 became intoxicated between the 6th of February and Easter in the 
 preceding year. 
 
 Hov fyrst aufif dem sig drucken drack 
 Fraa Blide- Maanets den 6 Dag 
 Till Paask y thet fogangen Aar. 
 
 — — — . — — — — — « 
 
 A double hourglass with a gold frame, upon which is 
 the monogram of Christian IV and the date 1633 in enamel. — 
 A miniature model of Rosenborg executed in bone, as 
 Christian IV first intended to construct it. — A small hand- 
 mirror. The back, which is covered with black velvet, bears 
 the monogram of Christian IV in enamelled gold, surrounded by 
 one of his two mottos (Jehova dirige cor meum), also in enamel. 
 
 A chalice with consecrated — waferbox, paten and cup. 
 All of the finest gold, ornamented with engraving, enamel and 
 precious stones, amongst others two large rose diamonds, which 
 
'9 
 
 form the eyes of a death's head upon the stem of the chalice. 
 The whole weighs 155 ounces and belonged to the sister of 
 Christian IV, Augusta, duchess of Holstein-Gottorp. The cup 
 bears the date 1632. — 
 
 A chalice and paten (the chalice like the foregoing 9 inches 
 high). It is an cxtraordinarely beautiful and artistical work, con- 
 jectured to have been executed in Holland. Under the convexity 
 of the cup, and also upon the foot, a net of green, white and blue 
 enamel is spread in twisted Arabesque, united into one whole by 
 6^ enamelled rosettes, all in open work. Upon the paten likewise 
 found enamelled ornaments. These magnificent pieces of work- 
 manship, which weighs 87 ounces, are according to tradition a gift 
 to Christian IV from a Dutch congregation in Denmark. 
 
 A large polygonal crystal goblet with crystal cover, 
 ornamented with gold rims. — 
 
 An oval agate bowl, 9 inches high, relief outside and the 
 date 1620. In the middle of the cover is an enamelled gold figure, 
 that holds a shield with the arms of Wurtemberg, inclosed in a 
 frame of diamonds; won by Christian IV in a tilt. 
 
 A goblet of lapislazuli of a rare size, and many smaller 
 goblets of jasper, agate &c. Two gold goblets, the one 
 with a cover and richly ornamented with rubies, the other with 
 the name of Christian IV and the date 1644. — Lasth^ we find 
 in the closet two miniatures of Christian I\' and Kirsten Munk, 
 painted 1623. — 
 
 Besides these two we find upon the walls of the bedroom a 
 great many other portraits: Christian IV (8 pictures of dift'erent 
 size). — The same (composed of small microscopic letters). — 
 The same (a copper plate due to Haelweg, after the picture of 
 Carl V. Mandern). — The same upon the bier (the sketch of 
 J. G. Reinold is also here). — The same, outside of a closed tablet 
 from 1638; inside a black tablet (which has a little indicative 
 drawing — soap-bubbles and an extinguished light — and an 
 inscription): the king used this to set down in the evening me- 
 moranda of the most important things, he must attend to do the 
 next day. — Lastly Christian IV as the negociator of peace, 
 painted wood in grey on gre\' by A. \an der Wenne (who died 
 1650). This highly interesting allegorical picture represents the 
 king with the princes Christian and Frcdcrik with their consorts 
 close to him; also the children, then living, by Kirsten Munk: 
 count Valdemar Christian and the ladies Sophia Elisabeth, Leonora 
 Kirstine, Elisabeth Augusta, Christiane and Hedevig; and lastly 
 
we see the foreign ambassadors at the Danish court &c. — - Prince 
 Christian (on horseback); the same (as a boy).. — Prince Fre- 
 derik (as a boy). — Leonora Kirstine (a portrait copied after 
 the original in the possession of her descendant count Waldstein 
 Wartemberg in Wienna). 
 
 On the walls we see further: 
 
 A painting representing the Derision of the Redeemei. 
 Painted after a dream Christian IV had once in Rothenburg, of 
 which we learn more from the declaration, drawn up in his own 
 hand in German and laid in the frame. 
 
 Over the door: The antlers of a deer which on Dec. 8. 
 1 6 1 1 , being frightened by the Swedes , who were attempting to 
 surprise the fortress of Kalmar, fled into the place, putting the 
 Danish garrison on their guard. 
 
 hi the windows: A box, bound with iron, a little hand- 
 printing press, and a stamp with the signature of Christian IV, 
 intended for use upon busy days. — A brass chaffing-dish, 
 marked with the date 1636 and the monogram of Christian IV 
 and »Elinore Kierstine^. It has belonged to the outfit of El. 
 Kirstine Ulfeld. — 
 
 On the floor: 
 
 A table of ebony. The disk rests upon four turned pillars 
 and is ornamented with nine engraved round silver plates of diffe- 
 rent sizes, enclosed within a wreath of foliage of silver and mother 
 of pearl. — 
 
 The 2 1 St of February 1648 (old style) Christian IV caused 
 himself to be brought from Frederiksborg to Rosenborg. His 
 days were even then numbered, a week after he breathed his last 
 in this little modest chamber, February 28tli 1648 at 5 o'clock in 
 the ofternoon. 
 
 The Workroom of Christian IV. 
 
 Thus is the room designated, which was set apart by the 
 monarch for his own particular use, during his residences at Rosen- 
 borg. It is separated directly from the Presencechamber, but has 
 retained nothing unaltered of its original state, except the beautiful 
 gypsum ceiling; the paintings in it are from a later period. The 
 panels of the M'alls, that are green lackered and ornamented vith 
 Japanese figures in gold, date from the original architect, whilst 
 the rest, painted in imitation of tortoise-shell, originate from 
 Christian V. A fire-place of sandstone stands between the win- 
 
dows, which, newly restored, beam in gold and various colours, 
 as in the first days of the castle. The beautiful marble floor is 
 also a restoration of the present day. 
 We shall notice here: 
 
 A set of trappings for a horse. Saddle, housing and 
 holsters of black velvet, upon which, as well as on the crupper, 
 is an extraordinary rich decoration of pearls and gold embroidery; 
 chased gold figures and enamelled clasps, rubies, sapphires and 
 rose-diamonds. The pommels of the pistols are of gold, adorned 
 with enamel and precious stones. — 
 
 These costly trappings were after tradition a present from 
 Christian IV to his son prince Christian, the king-elect, on the 
 occasion of his marriage with Magdalene Sybille, that took place 
 in Copenhagen October 5''^ 1634. On this occasion a magnificence 
 and festivity was displayed, such scarcel}- ever had been heard of 
 before, and which continued for many days. One of the most 
 splendid banquets was held in Rosenborg October the 9th. — We 
 have no certainty as to where this work was produced; but there 
 is not the slightest doubt that it is Danish, since at this very time 
 wc have better goldsmiths work known to have been produced 
 by native artists. 
 
 A series of dresses, worn by Christian W, of brocade, 
 cloth of gold, Brabant cloth and silver-moire. We would 
 especially di.stinguish a most costly and elegant: dress with jerkin, 
 trousers and mantle of gold moire, interwoven with bouquets of 
 silver-flowers. 
 
 A rich mourning-dress of black Brabant lace, worn by 
 Christian IV at the funeral of his son prince Christian (Nov. 1647). 
 
 The dresses here shown are in the style of the Spanish- 
 Netherlands, which universally prevailed during the first fifty years 
 of the i/t'i centur}', the characteristics of which are to be sought, 
 partly in the materials (brocade, silver moire &c.), partly in the 
 mantle, the unusually short waist, long skirt, broad embroidered 
 linen collar (Dan: Christian IV's cravat, Engl: Vandyke-collar ^ and 
 wide top-boots. 
 
 A fountain, which belonged to queen Anna Kathrine. 
 
 It stands upon a table of ebony edged with silver and supported 
 by three silverpillars, which again rise from a triangular ebony 
 foot, that finally rests upon three knobs of the same wood. The 
 fountain proper is of silver. It has two reservoirs — an upper 
 one for incense, a lower for perfumed water, — which are sup- 
 ported by three octogonal hollow pillars with taps in the middle. 
 
The fountain of queen Anna Kathrine. 
 
23 
 
 At the foot of the pillars are three silver dishes to receive the 
 water, that flows when the taps are opened. Between the pillars 
 rest a beautifully executed group of ActcEon and Diana with three 
 nymphs &c. The whole, including the table, is about 3 ells 
 in hight. 
 
 A looking-glass in an ebony frame, decorated with t\\'0 
 small portraits of Christian IV and Anna Kathrine, many alle- 
 gorical figures and numerous ornaments, all in silver and, like the 
 woodwork itself, excellently executed in the style of the renaissance. 
 
 This mirror, together with the fountain and the ebony table 
 spoken of before in the bedroom, have in all probability formed 
 parts of a complete and large set of furniture, which belonged to 
 queen Anna Kathrine. It dates from about 1610. 
 
 The writingtable of Christian IV, of polished wood, 
 resting upon four turned legs, and enclosed with a lid. Under this 
 is a writingslab, covered with green velvet, and many spaces, in 
 which are ink-stands and .sandboxes of polished metal. 
 
 A cabinet of ebony, decorated outside with tortoi.se-shelI 
 and ivory, inside on the door by paintings &;c. The underpart is 
 a black lackered table upon four turned legs, and has a leaf, that 
 draws out for use as a writing-table. 
 
 A pedigree upon parchment. It dates from 1636 and 
 shows the connection between the Danish royal house and the 
 princely family of Sleswick-Holstein-Gottorp. 
 
 A calendar, painted on wood, called: Xalendarium aureum*., 
 with many golden rules for our wellbeing in this world &c. It is 
 the work of one of Tycho Brahes disciples, Petrus Fischer. 
 
 A portrait of Christian IV, embroidered in silk, executed 
 under I'rederik III by an embroider in pearls, Clas Harder. 
 I'urther still 3 portraits of Christian I\': 
 
 I, as }'oung man, by van Doort; 2, on hor.se-back speaking 
 about the fortification of Copenhagen with engineer Stenvinkel; 
 3, as an old man; and 
 
 Portrait of Prince Christian and of his wife Magdalene 
 Sybille. — 
 
 A drinkingcup, that represents Christian 1\' as tilting 
 at the ring. 
 
 It is compo.sed of an eqvestrian statue oi the king, 2S inches 
 high. He is clad in armour, wearing on his head a hat and 
 feather, a tiltingbar in his hand, with which he has taken down 
 the ring, that hangs between two columns, zS inches high. Under 
 the horse there is a figure dancing, supposed to represent the 
 
24 
 
 kings court jester. When used as a goblet, a mark upon the 
 neck of the horse indicates the point where the head, which forms 
 the Hd, separates from the body. Upon the columns are incised 
 the names and escutcheons of many princes and knights. 
 
 These names and escutcheons seem to denote the occasion, 
 for which this costly object (which weighs about looo ounces) was 
 furnished, being those of the most skilful knights at the great 
 games of chivalry, held on the Amager-sqvare in Copenhagen the 
 y^ and 4th of September 1596 in honour of Christian IV's corona- 
 tion. The king himself shone as victor on that occasion; in 340 
 tilts he took the ring 206 times. He never lost his affection for 
 all knightly conduct and department. In the year 1634 he again 
 threw into the shade all his competitors in the chivalric sports 
 held in honour of the marriage of his son. Not less significant of 
 him in this respect is the injunction he gave his nobles on that 
 occasion to exercise themselves well in dancing, so that they could 
 appear with befitting decorum at the festivals. 
 
 An ivory relievo: Apollo's revenge upon Marzyas and Midas. 
 The figures are very raised and almost round. The work is executed 
 after the design of an Italian master and was finished in the 
 year 1624. 
 
 Over the doors: 
 
 Eight Chinese figures in porcelain, brought home by 
 Ove Gjedde. 
 
 In the glass-case by the one window is noticeable: 
 
 The cover of a genealogical album of gold, with 
 flowers, birds, the escutcheons of Denmark and Holstein, the date 
 161 3 &c. in enamel. This tasteful work, a gem from the art of 
 that time, belonged to Augusta, the sister of Christian IV, who 
 married Johan Adolph of Holstein Gottorp. 
 
 A note-book with rich enamelled gold binding. It 
 contains some french verses in the handwriting of Anna Kathrine, 
 the eldest daughter of Christian IV and Kirsten Munk; she lan- 
 guished and died of sorrow about six months after her betrothed 
 husband, the lord high steward Franz Rantzau, perished by an 
 unlucky accident in the moat by Rosenborg (1632). 
 
 Four bracelets, that belonged to queen Anna Kathrine: 
 
 I, A gold chain bracelet; on every link the monogram of 
 Christian IV is engraved, ornamented besides with enamel, rubies 
 and table diamonds. 2, A pair of ditto: every other link shows 
 the changing seasons in exceedingly beautiful embossed work, the 
 alternate links enamelled and richly set with diamonds. 3, A bracelet 
 
25 
 
 with inlaid, plaited hair (Christian IV's), gold flowers, figures in 
 enamel, diamonds and the initials A. C. 
 
 A sapphire one inch square, of a rare lucidity, probably 
 used as a broach by Christian IV. 
 
 Two gold finger-rings in each of which is set a good sized 
 sapphire, the one being engraved the monogram of Christian IV. 
 
 A medicine spoon. The spoon itself is a sapphire very 
 clear and pure U of an inch in diameter. The shaft, which is 
 about three inches long, is of embossed gold, enamelled and orna- 
 mented at the end with the initials C and K intertwined. It is a little 
 chef d'oeuvre of goldsmiths work, and a present from Christian IV 
 to Kirsten Munk. 
 
 A gold tablespoon with the monogram of Christian IV 
 and the date 1632; another with a handle of coral and bowl 
 of gold. 
 
 A watch in a case of rock-crystal; belonged to Chri- 
 stian IV. 
 
 A George and dragon (with gold chain to .suspend it round 
 the neck). It consists of a blue enamelled wreath and the device 
 of the order, within which, in open work, is St. George slaying 
 the dragon. 
 
 The Garter of Christian IV's Order of the Garter. 
 With the device in rubies and ornamented with pearls. The 
 buckle of enamelled gold, ornamented with rubies and diamonds. 
 
 The great seal of the kingdom. It is of silver; on the 
 clasp, which formes the handle, is the date. 
 
 A silver signet in the form of a stamp. On the plate a 
 crowned heart with a latin legend and the motto of Christian IV. 
 
 Numerous ornaments, that have belonged to Anna Kathrine, 
 of pearls and gold, embellished with precious stones and enamel: 
 A Cupid with bent bow, a bird, two lions &c. 
 
 A wreath formed of the 14 Danish escutcheons in 
 enamelled gold, the topmost shield being the escutcheon of the 
 whole kingdom. 
 
 An enamelled bust of Gustaf Adolph king of Sweden, 
 supposed be a decoration, to wich the thirty years war gave rise. 
 
 Several cameos: portrait of Philip II of Spain &c. 
 
 Many examples of an order of knighthood the armed hand . 
 The badge of the order was a blue enamelled arm, ornamented 
 with the monogram of Christian IV, that holds a naked sword in 
 the hand. It hangs in a broad blue ribbon, by which the insignia 
 is bound round the neck. Its original form was however soon 
 
26 
 
 changed by its being joined to the order of the elephant. One 
 of the examples preserved here, which was the one borne by 
 Christian IV himself and which bears upon the elephant the date 
 1617, shows us the order in its changed form. The rest of the 
 examples were borne by the king-elect prince Christian. 
 
 The order of «the armed hands 
 
 Christian IV's order of the elephant. 
 
 The order was conferred for the first time in Kolding Dec. 2'^'^ 
 16 1 6 during the festivities on the occasion of the enfeoffment of 
 Sleswick to duke Friederich III, the nephew of Christian IV. This 
 solemnity was not however the cause of its institution, since it was 
 in realty instituted as a reward for valour three years before at 
 the conclusion of the war of Calmar. The names of the first 
 twelve knights have been preserved in old verse: 
 
 » Fries, Lung, Scheel, Ranzou, Rantzou tu Bildeque, Rantzou, 
 Senckler, Sparr & Pens, Sandberg, Scheel, partis eqvestris.« 
 
 The order howe\'er was onl)' conferred during the time between 
 1616 — 1634. 
 
 Lastly we should here remark the different miniatures (17 
 in number) of Christian IV (13); queen Anna Kathrine; her brother 
 the Elector Johannes Sigismund; Magdalene Sybille &c. Many 
 of them are beautiful executed. 
 
27 
 
 Two small busts (in relievo) in coloured wax of Christian IV 
 in advanced age, the one executed in his last year. It represents 
 the king in an admirals dress; from a gold chain round his neck 
 hangs the speaking trumpet, through which he gave hjs orders 
 on board. Both busts arc the work of excellent, but unfortuna- 
 tely unknown masters. 
 
 If we now collect all the impressions, received during our visit 
 to Christian TV's rooms, they will produce for us a full and complete 
 picture of him and his time. We have been reminded, now by 
 this and now by that object, of his numberless great qualities, his 
 love of activity, his watchful attention, his bravery, his chivalr>% 
 his feeling for art and its productions &c., as well also of the faults, 
 that clung to him, but which assuredly for greater part must be 
 attributed to the age, in which he lived. But what above all will 
 then most distinctly stand before us, is the strong impress of the 
 clear and decided character everything here bears, so that it is 
 with reason, that we designate the time, which in Denmark ended 
 its course with king Christian l\\ as a distinct period of culture 
 which then reached its essential close. 
 
Frederik III. 
 
II. 
 
 From the introduction of aUsohitisni tu the Froiuli 
 revolution (rococo style). 
 
 The time of Frederik III (1648^1670). 
 
 kJi\ the death of Christian IV the throne stood vacant during 
 many months, and Frederik III was chosen king only after having 
 signed a deed, dictated by the late kings powerful son in law 
 Korfits Ulfeld, the husband of Leonora Kirstine, by which the 
 power of the nobility was increased to such a degree, that the 
 regal power became a shadow for the benefit of a single privileged 
 class. After the unfortunate war with Sweden, that ended in the 
 peace of Copenhagen (May 27th 1660) in which the king and his 
 gifted, but withal haughty and ambitious, queen Sophia Amalia 
 (daughter of George duke of Brunswick Lyneburg and who died 
 1685) had won great popularity by their bold and patriotic conduct 
 during the siege of Copenhagen, they succeeded by the assistance 
 of the other orders of people, who were disaffected towards the 
 aristocratic power, in changing the form of government: the ro)-al 
 power was made hereditar)- and absolute, and on the iS''' of Oct. 
 1660 the oath of fealt\- took place before the e.xchange in Copen- 
 hagen. 
 
 This revolution thus introduces a new period into Denmark: 
 from this time the royal power was the sun, around which politics, 
 art, industry, all turned, in other words: the historj' of the monarch 
 was in a wider sense the history of the land. But added to this, 
 the era in our native country was contemporaneous with the great 
 European tide of progress, which we can say lifted a peculiar age 
 out of its billows, reforming everything, bringing new manners, 
 new customs, new views — in a word: a peculiar period of culture, 
 widel)- differing from the preceding one, came in with the advent 
 of Louis XI\'. 
 
30 
 
 And most fortunate is it, that the collection of Rosenborg 
 should just date from this time and from a king, who, himself a 
 cultivator of the arts and sciences, had an eye to the significant 
 importance of handing down from generation to generation the 
 characteristic productions of every age. We shall find frequent 
 occasion during our progress through this long and significant 
 period to rejoice over the rich contributions, the collection offers 
 for its comprehension. 
 
 The articles from the time of Frederik III are found in the 
 Garden cabinet, the dark chamber and the so called marble 
 chamber. 
 
 TJic Garden Cabinet 
 
 is the lowest apartment in the western tower of the castle. Its 
 walls are covered with green, white and red watered silk, and the 
 floor planched with a beautiful inlaying of oak and walnut wood; 
 the chimney piece is of greenish marble, and the roof decorated 
 by a large mythological painting, surrounded by a broad white 
 border in stucco. This last is interesting because it leads us at 
 once into the Rococo style under its first appearance amongst 
 us; in spite of its richness of composition it in no degree excites 
 the impression of overloading. 
 
 We have in the furniture here an extensive contribution in 
 this direction. We will notice principally: 
 
 A table and a pair of candle stands. They are beauti- 
 fully carved and ornamented with gilding and colour; the slabs of 
 the gueridons are of scagliola, in which the arms of Denmark 
 and Lyneburg are found; they belonged to queen Sophia Amalia. 
 
 We see by the closed crown, that is found here and there, 
 among the other decorations upon the last named articles, that 
 they date from 1660. Before this time the open crown was princi- 
 pally used; on the contrary the crown with the closed pillars 
 bearing the globe etnd the cross on the top (te sign of the power 
 by the grace of God granted to the kingdom) first came into use 
 with absolutism. 
 
 Upon the walls are found: 
 
 Five portraits of Frederik III in different sizes (3 painted, 
 one mother of pearl on ebony, one coloured wax). — Three 
 portraits of queen Sophia Amalia (2 large, as a young woman, 
 the other as when older — the last most probably by A. Wuchter 
 — and a small one by Wolfgang Haimbach, representing the 
 queen in the dress of a peasant girl as she appeared in a ballet). — 
 
31 
 
 4 small portraits of the children of Frederik III. — Christian V 
 in a very early age (upon a silverplate covered with gold varnish). 
 — A large painting: Taking the oath of fealty before the ex- 
 change in Copenhagen, by Wolfgang Hairnbach, interesting as a 
 picture of the times. Over and by the side of this hang the 
 portraits of the six men, who were the most influential in the 
 introduction of absolutism: Hannibal Sehested, Schack, Nansen, 
 Svane, Gabel and Henrik Bjelke. — 4 portraits of Anton Gynther 
 
 the time of .iiiccii .Sophia Arnali; 
 
 (2 painted, i embroidered in silk, i composed of small letters) 
 2 of his wife Sophia Kathrine. — Portrait of the horse »Cranicht 
 (a gift from Anton Gynther to Frederik III; its mane reached to 
 the ground and the length of its tail was three times its height). 
 — Portrait of Charles I of England, embroidered in silk. — A re- 
 presentation of the storm in Copenhagen the night between the 
 lotli and nth of February 1659. — The procession through the 
 town after the oath of fealty. — And lastly, to be remarked as 
 an interesting addition to the characteristics of Frederik III. a por- 
 
32 
 
 trait of a resident clergyman in Bremen, on wood, painted by 
 Frederik III whilst he was archbishop there. 
 
 Of the rest, that the room contains, we will notice: 
 
 Before the fire place: 
 The coat of arms of Frederik III as archbishop of 
 Bremen. A mosaic of marble enclosed in a wreath of laurels, 
 carved in gilded wood. 
 
 To the right upon the wall: 
 Two suits, embroidered in silver and gold, the one of which 
 was worn by Frederik III the day 
 on which he received the oaths 
 of fealthy. — A staff, the handle 
 of which was a poleaxe made of 
 the well known alchemist Borro's 
 gold. 
 
 Joseph Frants Borro, born in 
 Milan 1625. After having roamed 
 from land to land and led a life 
 romantic and adventurous in the 
 highest degree, now the all power- 
 ful favorite of a prince, now con- 
 demned and burnt in effigie, came 
 in the autumn 1667 to Denmark, 
 brought hither by that renowned 
 scholar Ole Borch, whom he had 
 succeded in completely winning 
 over. The learned Frederik III, 
 who, like so many other poten- 
 tates of that time, favoured al- 
 chemy, received him royally and 
 sometimes took part himself in his 
 A candle stand. alchemical studies. At first Borro 
 
 worked in the laboratory in Rosen- 
 borg garden, then he got a laboratory of his own behind the 
 exchange, which in 1669 he removed to »0sterport« (the gold- 
 house). On the death of the king his role was played out here; 
 he left Denmark and finished his inquiet days as a prisoner in the 
 castle of St. Angelus in Rome. 
 
 A herold's sword, fabricated in the Broby works in Funen 
 1648. Upon the blade the arms of the Danish provinces are 
 engraved. The hilt is of gilded iron, the pommel of black 
 velvet. 
 
33 
 
 Broby maiuifeictury of arms, established b)- some gentlemen 
 of Funen and the marshal of the kingdom Anders Bille of Damsbo 
 (who fell at Fredericia 1657), was destroyed b>' the Swedes and 
 was never reestablished. 
 
 By the window to the right: 
 A mourning sword, worn by h"rederik III at the funeral of 
 his father. The blad is engraved, the hilt black iron. — A sword 
 with gold hilt and gold-mounted .scabbard and belt, likewise 
 worn by Frederik III. — A sceptre of silver with the mono- 
 gram of Frederik III. — A brace of pistols; the barrels inlaid 
 with golden ornaments, the butt-ends with enamel and Bohemian 
 
 .\ Jewell )ox. 
 
 stones.— A breech-loading rifle ot 30 shots.— Two rifles 
 with butt-ends inlaid with ivory and the Danish arms in enamelled 
 gold. — A pair of gold mounted enamelled spurs &c. 
 
 In the glass-case to the left: 
 A Jewel box of silver. The cover and sides are rendered 
 transparent b\' 15 cut crystals, through which we see on the 
 bottom of the box the judgement of Paris in embossed work. 
 Around the crystals 62 large garnets are set, and these again are 
 enclosed in a rich embellishment of flowers, leaves Sec, the splen- 
 dour of which is enhanced by a countless number of small diamonds. 
 The ca.skct, which is 1 8 inches long (beneath) and 12 inches high, 
 
34 
 
 was a present to Sophia Amalia from her daughter in law Anne, 
 queen of England. 
 
 Two smaller jewelcases of agate with enamel and pre- 
 cious stones. — Two others of ivory. 
 
 A crystal goblet. The cup, 5 inches long and 3 inches 
 high, is in the shape of a shell and externally has 8 heads cut 
 in relievo. It rests upon the back of a figure, bending forward, 
 and bears on the base of the shell a winged genius. The stem 
 is oval, and in front shews, in relief, the arms of Hesse, behind 
 the motto of the landgrave Charles (candide et constanter) round 
 a crowned shield. This extremely precious work of art is possibly 
 a present from the aboved named prince, whose sister Charlotta 
 Amalia was married to the crownprince of Denmark. 
 
 Many other articles of crystal, including a bowl, with incised 
 designs, which rests upon a foot and is in the form of a ship. 
 
 A set (32) of chess formed of slate, the greater part of 
 which are portrait figures (the kings Frederik III and Carl Gustaf; 
 the queens Sophia Amalia and Hedewig Eleonora &c. &c.). 
 
 An elephant crushing an ibex with his trunk. It is 
 an allusion to the defeat of the Swedish General Stenbock by 
 Nyborg (Stenbock 0: ibex). 
 
 A round glass goblet with a cover, 9 inches high, 
 decorated with ground ornaments; on the lid Frederik III on 
 horseback; round the glass the battle in the Sound, the descent 
 on Amager and the battle of Nyborg are represented. Below 
 the following verse: 
 
 >Dies ist der Konig Friederich, 
 Den Gott gefiihret wunderlich 
 Und Kopenhagen, Seine Stadt, 
 Die er im Sturm be Schiitzet hat. 
 Als Holland erst im Sundt gesieget 
 Und so der Schweden floth bekrieget; 
 In fuhnen blieb ihr Stolzes Heer 
 Wie pharao Im Rothem merr. « 
 
 A series of objects, rare by reason both of material and 
 workmanship, the stones (topaz, onyx, aquamarina &c.), many of 
 which are of an extraordinary size, in connection with the cutting 
 and enamelling have produced little masterpieces of the jewellers 
 art; remark for example the altar, the ornament with the 
 aquamarina (the history of the Pas.sion), and the topaz goblet. 
 
A cnstal goblet. 
 
36 
 
 Remark also the beautiful tankard in amber with setting and 
 foot of gilded silver. 
 
 Three gold goblets with green enamelled medallions, in 
 which are the monogram of Frederik III and the escutcheon of 
 Holstein; they belonged to the duke Frederik III, cousin to the 
 king Frederik III. 
 
 A gilded silver chalice and paten bearing the monogram 
 
 of Frederik III; used by the king, when he received communion. 
 
 A small round silverbox with the monogram of Frederik III 
 
 in the bottom (used by the king as a pocket-box, to hold pomade 
 
 for his beard). 
 
 In the open cupboard to the left: 
 At the bottom a small eqvestrian statue of Frederik III as a 
 tilter, with pillars of silver, most delicately executed. Four larges 
 and six smaller silver goblets in embossed work. — A silver 
 globe, gilded and engraved, with the stand 21 inches high. — 
 An ivory cup, 10 inches high, with three gold enamelled band; 
 on the cover in enamelled gold a figure, representing a Green- 
 lander, with a bow around his neck. — Many cups and goblets, 
 formed from the horn of the Narwhal and Rhinoceros. 
 
 (It is most probable, that the greater part of these objects 
 have been won in the games of chivalry; and indeed the inscrip- 
 tions on some of them would seem to intimate as much.) 
 
 A silver goblet with a lid, 9^ inches high, called the Born- 
 holm goblet. 
 
 According to tradition the first time this island was visited 
 by Frederik III after the peace of Copenhagen, he drank from 
 this cup with the chief men of Bornholm, who liberated the island 
 from the Swedes. In the peace of Roskilde it had been ceded to 
 Sweden, but the men of Bornholm, having won back their inde- 
 pendence by their own exertions, on Jan. 8* 1659 transferred their 
 allegiance by a deed of gift to the crown »as a perpetual inheri- 
 tance and possession;. The leaders in the rising were the noble- 
 man Jens Pedersen Kofod, the yeoman Niels Gummelev and the 
 clergyman Poul Anker. 
 Upon the wall: 
 Four oval silverplates and one, set in a frame, with 
 embossed figures, in work so raised, as sometimes to be al- 
 most round. 
 
 In the glass-case upon the table: 
 A series of small portraits (36 in number) from which we 
 distinguish the following: Frederik III enamelled upon a gold plate by 
 
37 
 
 A. Prieur (1663), an excellent work; portrait of five of Frederik Ill's 
 children, enamelled upon one plate by the same artist (1671); two 
 in black slate plates (5;, inches high and 4 inches broad) full length 
 portraits of Frederik III and Sophia Amalia, inlaid in mother of 
 pearl; enamelled miniature portraits of the two English kings 
 Charles I and II, of queen Christina of Sweden, Carl Gustaf and 
 his queen &c. 
 
 A round silver box containing a small piece of gold, 
 fabricated according to tradition by Frederik III (Borro). — The 
 favorite spoons and forks of gold of Frederik III and his 
 queen. — Knives, forks and spoons with handles of agate, 
 crystal &c. 
 
 An eye-glass of gold with case of the same metal. — A small 
 collection of ornaments, in which pearls of peculiar forms are 
 used as motive figures (fishes, mermaids &c.). — Signets of 
 carved stones (chalcedony, topaz etc.) with enamelled handles; 
 rings &c. — A collection of goldcups (13 in number), that fit 
 one into the other; the exterior one is ornamented with four 
 enamelled medallions, in each of which — also in enamel — is 
 placed the escutcheon of Denmark and Norwa}-, the three crowns, 
 and the monogram of Frederik III. 
 
 The dark chanihcr 
 
 lies south of Christian IV's workroom. All the light, that it 
 receives, comes from the window of the winding-stairs in the west- 
 tower and from a little side-room, for which reason it is but little 
 adapted for a museum. It was originally designed to serve as a 
 bedroom. The ceiling is of white stucco, the walls covered with 
 red damask and white silk. The marble floor is a restoration of 
 the present day. Over the marble chimney-piece is a large Venetian 
 mirror, set in a richly gilded frame in the elder rococo style. 
 In this room let us remark: 
 A bust of Frederik III in gypsum. — One of Griffenfeld, 
 also in gypsum. — The portrait of Frederik III on a dark 
 embossed metalplate. — A half length portrait of Frederik III. 
 It is of wax placed in a glass-case with the crowned monogram 
 of the king; he is attired in a sort of Roman costume; natural 
 size (artistically worthless). — Queen Sophia Amalia. A pendant 
 to the one last named. — The portrait of the artist Jakob 
 Hollaender (> Dutchman ). Holding one of his works in his 
 hand, a carved ivory mug, which is deposited in the marble 
 chamber. — Portrait of J or gen painter . 
 
38 
 
 An ebony cabinet, on the doors and drawers of which is 
 a rich covering, of curious design, in tortoiseshell, and it is further 
 decorated with gilded metal ornaments, inlaid with ivory &c. 
 
 An ebony cabinet with border of ivory. — Two tables 
 with slabs of scagliola; they have belonged to queen Sophia Amalia, 
 as proof of which her monogram and the arms of her family are 
 found in the inlaying. 
 
 The marble chamber, 
 
 that lies south of the last named room and the windows of which 
 look out upon the drilling-ground, dates from the time of Christian V 
 and furnishes a highly interesting example of the Rococo of Louis 
 XIV's days. Its walls and floor give name to the room, the 
 former being covered with marble coloured stucco, and the latter 
 having a chequered mosaic pavement of dark and light marble. 
 Burnished pilastres with Corinthian capitals break the flat surface 
 of the marbled walls, which are further decorated on the long 
 sides by eight round compartments, painted with the arms of the 
 Scandinavian kingdoms. On the doors we find the monograms 
 of Christian V and his queen. That which will principally strike 
 the visitor is the remarkable stucco-ceiling, whose alto-relievo (genii, 
 fruits, wreaths &c.), which encircles a multitude of painted com- 
 partments, containing representations of the arms of the Danish 
 provinces and many other subjects, cannot fail to give the highest 
 idea of the skill and boldness of the masters, who have produced it. 
 
 We find here from the time of Frederik III: 
 In the closets on both sides of the north door: Many dresses. 
 We would call particular attention to the one of dark brown 
 cloth; its cut is after the fashion of the Netherlands; down all the 
 seams and upon the front of the sleeves runs a rich trimming of 
 gold and silver lace. — As will be seen in the costumes from the 
 time of Frederik III the frock-coat forms one with the original 
 dress, and the cape (see the dress of Christian IV), which was of 
 Spanish origin, dissappears. 
 
 A hat bordered with broad gold galloon- — A sceptre of 
 Ihe horn of the Narhwal; the ball and the ring of the ferule 
 are of enamelled gold and set with rubies. — A cane with a gold 
 top, enamelled with the three crowns, the monogram of Frederik III 
 and his motto: dominus providebit, and also with the inscrip- 
 tion: Chacun a son Tour 1660, which has reference to the 
 
40 
 
 moment, when by the introduction of absolutism the nobility had 
 to bend at last to the royal power. — A hunting- sword; the 
 hilt of horn bound with gold and ornamented with enamel and 
 erribossed gold lions. On the .sword-belt are the initials of queen 
 Sophia Amalia. — The gun of the same queen, with an ivory 
 medallion inlaid in the butt end, bearing the initials S. A. and the 
 motto of the queen: »en dieu mon Esperance«. 
 
 A great many articles of ivory, turned and carved: por- 
 traits in relievo, cups, boxes, drinking-horns &c. , amongst which 
 not a few even apparently insignificant things are of considerable 
 artistic value, whilst others, besides the merit of skilful workman- 
 ship, desire great value from excellency of material and rare size. 
 
 Many of these works are certainly executed abroad (Augsburg 
 and other places), but just as it is known that one article (a round 
 box) was turned by Frederik III himself, so we also know that 
 at the period under review not only foreign but also native artists 
 distinguished themselves by the production of works of this kind 
 in the land. Amongst the latter we would recall the memory of 
 the celebrated artist Jakob Jensen Normand (born in Norway, died 
 under Christian V as curator of the art-chamber and armourer), 
 who, amongst other means, won himself a name by his carvings 
 in sycamore and in the ivory of the narwhval and elephant. 
 Amongst his works, here preserved, we will draw particular atten- 
 tion to the ships and boats, placed in the windows, and especially 
 to the admirably finished model of the > Norwegian lion< a 44 gun 
 frigate of the time of Frederik III. 
 
 Lastly let us remark a quantity of furniture of the time of 
 Frederik III: 
 
 A large table, the slab of which .is formed of the elder 
 Florentine mosaic. — An ebony cabinet, the drawers of which 
 are covered outside with dendrites. — A table with a scagliola 
 slab. — A very beautiful cabinet for jewels; the drawers 
 are lined with green velvet and covered outside with "Florentine 
 mosaics &c. 
 
 The Florentine mosaic as is well known is formed of hard 
 stones (marble of diversified colours and shades) by the skilful 
 arrangement of which pictorial designs are produced. The Roman 
 mosaic on the contrary results from the employment of small 
 squares of an artificial vitrious-substance. — Dendrit is a chalk- 
 stone containing the appearance of trees in the stone, produced 
 by the water pressing through the porous parts and depositing 
 the decomposed particles, it has carried along with it, in different 
 
41 
 
 forms as trees, shrubs &c. — Scagliola is a production of pulverized 
 and coloured alabaster from which pictures somewhat resembling 
 mosaic can be produced. 
 
 Frederik III died Febr. Qth 1670 having filled the throne for 
 22 years. 
 
 From the time of Christian V (1670—1699). 
 
 Christian V was the first Danish king, who ascended the 
 throne without subscription to the charter, dictated by the nobility, 
 and in the strength of his hereditary right. As prince he had 
 travelled abroad (from 1662— 1663) and in the court of Louis XIV 
 had become acquainted with the pomp and magnificence, which 
 now as far as in him lay he sought to imitate in his own court. 
 He therefore amongst other innovations instituted a new order 
 of nobility, counts and barons (May 25th 167 1), issued the first 
 ordinance respecting precedence, and renewed the order of the 
 Elephant and the Dannebrog (the white ribbon). From 1675 — 1679 
 he was engaged in the so called Scanian war with Sweden, in 
 which Niels Juel won his renown (battle in Kjege ba>-, July ist 
 1677 &c.). — Peter Grififenfeld , whose name was Schumacher 
 before he was ennobled, who in the first years of Christian V had 
 risen from honour to honour and won renown both at home and 
 abroad as Denmarks first statesman , during this war was deprived 
 of power and confined as a prisoner of state upon Munkholmen 
 (Norway). — In 1683 Christian V promulgated his Danish code 
 and 1687 his code for Norway. — Christian V was married with 
 Charlotte Amalia, princesse of Hesse Cassel (died 17 14). 
 
 The articles of the time of Christian V are preserved in the 
 marble chamber, the south end-saloon (formerly called >the Red 
 Apartment ), the tower-room adjacent and the Rose upon the 
 first floor. 
 
 The marble chamber, 
 
 which has been described before, and, as we have said, was ar- 
 ranged and furnished under Christian V, gives indeed in itself a 
 good presentation of the taste of this king, and of his age, for 
 splendour and magnificence. 
 
 We find here some furniture of Chri.stian \'s time, from which 
 we will call attention to three cabinets; the first is of ebony with 
 
Christian V 
 
43 
 
 an inlayinj^- of tortoiscshell , iiitciioiiy; the second of walnut with 
 inlaid mosaic, and the third whoU}' covered with tortoisesheil and 
 exceedingl)- rich and tastefully ornamented with fillets and en- 
 graved arabesques in silver. 
 
 The last mentioned piece belongs to a kind of work, that 
 w as brought into fashion under Louis XIV by the renowned wood- 
 carver Andre Charles Houle, from whom it took its name. He 
 was the fust, who discoxered how to inla)- engraved silver orna- 
 ments in tortoi.seshell. 
 
 Further we should notice two ixory caskets for jewels, the 
 larger ornamented with inlaid mosaics, the smaller with pictures 
 in a sort of silkembroidery, that is glued upon the exterior of 
 the sides and drawers. 
 
 The south cud-saloon 
 
 answers to the audience-chamber of Christian W at the opposite 
 end of the ground floor. It is tapestried with well preser\'ed 
 hautelisse-tapestry of a bright red coloured ground, on which ac- 
 count in the time of Christian V it was called the Red Apart- 
 ment . It was used as a dining-room by Christian V, which is 
 apparentl)' indicated by the richh' painted decorations on the 
 ceiling (a band of musicians pla)Mng, dancing genii &c.), but at 
 all events we are reminded of this b)' the two immence » plate- 
 warmers < before the fire-place, the beautiful!}- made and engraved 
 dishes with silver stands belonging to them. The floor of white 
 marble has newly been restored. The chimney-piece of marble, 
 that stands on the south wall between the bay-windows, is also a 
 restoration of the present day. Above the chimney-piece in a 
 richly finished marble frame we see a portrait of Christian V. 
 
 The hautelisse tapestry of this saloon was woven in Kjoge 
 probably after the designs of the painter Bendix Gr(itschilling the 
 younger (born 1655, died as the curator of the art-chamber 1707). 
 The distinction between basselisse and hautelisse tapestry depends 
 on the warp lying horizontally or verticalh. This fabric originated 
 in France, for which reason it is frequentl)- denominated Gobelins, 
 from the manifactur\- establi.shed in Paris b\- the renowned Gille 
 Gobelin. We hatl already in the i6tli centur)- a native manufactor>' 
 for this kind; under Frederik II it was first located in Elsinor, after- 
 wards in Slangerup; Christian V removed it to Kjoge, where the 
 building still remains and from thence the general name of >KJ0ge- 
 tapestry was deri\ed. The manufacture was however discontinued 
 
45 
 
 under Christian VI being far too costh' a branch of industr)' for 
 the government of so small a land to support. 
 
 Whilst our eye still glides around the saloon it will be annected 
 now by one, then another piece of the highly characteristic Rococo 
 furniture found here: mirrors with magnificent carved and gilded 
 frames of wood, tables rich in carving and gilding with slabs of 
 marble, Florentine mosaics, or marquetry inlaid with rare woods, 
 or covered with skilful Italian filigree work &c., which cannot fail 
 to awaken our attention by the ability, which is frequently displayed 
 in the execution of the work, even if the bizarre fancies of its 
 masters should at times startle us. Wc will however particularly 
 remark : 
 
 An ebony cabinet resting upon four twLsted pillars and 
 tastefully inlaid with flowers, birds, arabesques &c. in ivory and 
 different sorts of wood. The interior of its doors are of plate- 
 glass on which are painted trees; the interior recess of the cabinet 
 is likewise ornamented with plate-glass, ivory &c. The date 1679 
 can be read in the inlaying. The frame of this piece of furniture 
 is formed on the sides by two rows of secret drawers, and above 
 and beneath by two broad drawers. This cabinet together with 
 two gueridons, a mirror and a table of the same work as is found 
 here are according to an old tradition Danish work. 
 
 In this cabinet, amongst other things, are found: a miniature 
 bust in silver of Christian V standing upon a silver-gilt pedestal, 
 the whole 10 inches high. — One in red wax, 5^ inches high. — 
 An equestrian statuette painted in natural colours, ^ of an 
 inch high, standing upon a marble column, 31 inches high. — 
 Another equestrian statuette of gilded metal, i inch high, on 
 a marble column, 4.; inches high (which like the former was exe- 
 cuted by Jakob sthe son of the japanner«). 
 
 A table. The slab is of olive -green Italian marble, down 
 each side of which a strip of white marble is inlaid and in the 
 centre a plate of white marble, upon which is engraved the crowned 
 monogram of Christian V. The underpart (of gilded maple) con- 
 sists of fantastic figures (telamons) as legs for the table. These 
 as well as the frieze of the table are decorated with carvings. 
 On the frieze is a rich garland of oak foliage and flowers; in the 
 middle beneath the arms of Denmark and Hesse in a wreath of 
 foliage and flowers. 
 
 For the rest we remark in this saloon: 
 
 A closet with dresses and state gala weapons. Among 
 the dresses, of which many are richly embroidered in gold, the 
 
46 
 
 coronation-dress of Christian V (a Spanish cavalier's dress, white 
 with gold) and the buff jerkin he wore in the battle of Lund 
 must be distinguished. The iron sword, that hangs besides the 
 last mentioned dress, was likewise the one borne by him in the 
 Scanian war. — The gala weapons, namely three swords with 
 enamelled diamond set hilts &c. , are work of the most costly 
 kind ; notice particularly the hilt with the serpent and the heart — 
 
 the handle, ferrule and the spurs belonging to this set may be 
 reckoned among the most excellent productions of the golden age 
 of the art of enamel. We will lastly name from the contents of 
 this closet a .staff of command, the ball and terminal ferrule of 
 which are of gold and decorated with diamonds. 
 
 Christian V was crowned in Frederik.sborg church Juni /tli 1671. 
 On this occasion the difference between the time past and the then 
 
47 
 
 fjpsent was brought distinctly forward. With a view to this 
 redcrik III had caused the coronation -chair, the closed royal 
 crown and the rest of the regalia to be completed (of which more 
 below), and the lex regia (the writ of absolutism in Denmark), 
 drawn up by Peter Schumacher and subscribed by Frederik III 
 November 141'' 1665 and which had hitherto been kept secret, was 
 then read aloud for the first time. 
 
 A cabinet with turned and carved objects in ivory, 
 coral, amber &c. , many of which are of considerable value as 
 works of art. The most distinguished are: 
 
 A round ivory mug, whose spherical exterior is adorned 
 with a well executed copy in relievo of one of Tenier's pictures. — 
 Many groups of the utmost value (St. George slaying the dragon; 
 the offering of Abraham; Romulus and Remus &c.) and other 
 objects of coral. — Many caskets of amber (amongst which one 
 22 inches long, 13 inches broad and 14 inches high; upon the 
 corners eight amber-figures, the sides and lid are ornamented with 
 basrelievo in ivory and amber). 
 
 Upon two of the cabinets observe three japanned vases 
 of wood. Among.st many different objects placed upon the tables 
 remark: a drinkinghorn, formed from the horn of an ox, with 
 cover and ornaments of silver. The escutcheon of Griffenfeld as 
 count beautifully engraved upon a silver plate is placed upon its 
 front. Count Griffenfeld presented the horn to Copenhagen his 
 native place, and it was formerly preserved in the townhall for the 
 use of the magistrates upon festive occasions. 
 
 A calendar of gilded metal made for Chri.stian V by the 
 celebrated Ole Romer (the discoverer of the velocity of light, bom 
 1644, <J'ed 1710). — A mug of carved wood. With cover, 
 handle and foot of embossed silver. The carving is done by Lars 
 Berthelsen, who was parish-clerk at that time in the church of the 
 Holy Ghost, Copenhagen. 
 
 Three large and magnificent articles of silver. Orna- 
 mented with gilding, engraved and embossed work. The principal 
 part a globe (upon which are figures of Juno, Jupiter and Mars); 
 can be separated so as to form a bowl, the interior of which is 
 gilded, the exterior engraved; it is supported by a beautifully 
 wrought figure. They have most probably been won as prizes 
 for tilting. 
 
 A metal virginal (Spinet). 
 
 It consists of a green painted wooden case, that rests upon 
 four legs, and contains two rows *^f metal keys; the upper row 
 
representing the semi-tones, and the lower the full-tones. S 
 mallets are used in playing it, and it has a range of three a' 
 a half octaves. 
 
 A hunting cup. 
 
49 
 
 A huntin<^ cup. 
 
 An oblong silvercup, gilded within, that rests on the tips of 
 a deer's antlers (ten branches), from which it could be removed 
 to the table when required for use. 
 
 Two hunting cups with covers, both formed of the antlers 
 of deer. The}- are covered with gilded silver interiorly; a small 
 spray of coral serves as knob upon the lid of one of them. 
 
 In the corner closet we notice a rich collection of hunting- 
 weapons and other articles belonging to the chase: 22 fowling- 
 pieces and pistols; i crossbow; i pole-axe; 2 hangers (the hilt and 
 ferrule of the one beautifully carved from the horn of the rhino- 
 ceros) ; 2 magnificent hunting knives in sheaths with silver gilt 
 mountings and case; i small black hunting horn -which was used 
 in the German hunt< ; 2 falcon-hoods, the one set with real pearls 
 and embroidered in gold; i hawking-bag &c. 
 
 If hawking has never played with us the role that it has in 
 other places, nevertheless Denmark enjoyed no insignificent place 
 in its hi.story as the principal depot of the valuable Iceland falcon, 
 that was first trained here and then sent as present from the 
 Danish court to foreign princes. The last falcon was sent hence 
 in i8o6 to Portugal, and the last hawking-party in Denmark 
 occurred March 1803 in honour of William duke of Gloucester, 
 who was at that time the guest of the Danish court. 
 
 Christian V was a most passionate lover of field sports, 
 which he pursued under many aspects: hunting with hounds, 
 swanshooting, hawking &c. (a passion he inherited from his mo- 
 ther), he was also an admirable marksman. In proof of this asser- 
 tion the bone of an animal preserved in this closet can be adduced, . 
 which at a shooting feast in Randers, when crownprince, he 
 twice shot through with his rifle at 30 ells distance, as it was held 
 up between the fingers of one of the towns-men there present. 
 An inscription upon the bone records the fact. — Another souvenir 
 of his last hunt is found in this saloon over the door leading into 
 the corridor, namely the antlers of a stag, which on the 19*^ of 
 October 1698 in a hunt with hounds in the deer-park ( Dyrehavenc 
 near Copenhagen) gored the king, who gave the coup de grace , 
 so severely, that he never recovered the effects of it during the 
 ten months he still lived. 
 
 In the glass-ca.se: a number of miniatures, main- enamelled, 
 amongst which: 
 
 Christian V (6). — Charles XI of Sweden. — Michael Kory- 
 buth Wvsniowicki, king of Poland. — Louis XI\'. — The elector 
 
50 
 Friederich Wilhelm of Brandenburo- __ PHnre C 
 
 Griffenfeld). " ^ '"' ""' decorations, the one by 
 
 A falcon-hood. 
 
 The ribbon and the star of St C. 
 work Christian Vs decoration as knight ^ft^l^/" ^-^^^"^"' 
 
 grey Ony. upon which is carved 'st. George ItLI^thr^ " 
 
51 
 
 Four elephants (two of which are crystal) and one, a clear 
 elephant upon a green ground (cameo). 
 
 The order of the elephant. The first trace of this order 
 goes back to Christian I, who in the year 1457 founded a clerical 
 brotherhood (a confraternity) the members of which wore as a 
 sign of community a chain, which bore a medal with the Virgin 
 on one side and an elephant on the other. We have no hint of 
 the motive, which induced the adoption of the elephant as a symbol. 
 Christian I as well as his immediate successors, Hans and Christian II, 
 wore a chain with the elephant and are known to have conferred 
 it on others as a particular badge. After the reformation the 
 
 The obverse. The reverse. 
 
 Christian V's star of St. Georgt- . 
 
 order remained for some time in abeyance (on account of its 
 catholic origin) but was again revived by Frederik II with an 
 elephant alone as the badge of the order. Christian IV joined to 
 it )the armed hand until 1634. From this time it has been 
 borne alone, in white enamel with blue housing and decorated 
 with the kings monogram and diamonds, under Christian IV in a 
 gold chain, under PVederik III (who September 2y^ 1663 com- 
 manded all the knights of the order to place a tower upon the 
 back of the elephant) in a blue ribbon round the neck. The 
 present form dates from Christian V, who December ist 1693 con- 
 solidated its rules. The badge of the order is now a white 
 enamelled elephant in gold with a tower of red enamel upon its 
 
52 
 
 back, and ornamented with a diamond cross on the side. It is 
 borne on the right hip in a broad blue silk ribbon, which hangs 
 over the left shoulder. On the right side of the breast an eight- 
 rayed star, with the cross in its centre, is worn. The dress of 
 the order is a white Spanish cavalier's dress, a mantle of crimson 
 velvet lined with white satin, and cap with white and red plumes. 
 A knife; with haft and sheath of gold excellently enamelled. 
 Many smaller objects of excellent workmanship in silver, gold. 
 
 The order of the elephant. 
 
 crystal and precious stones (a small note-book with calender in a 
 gold-filigree binding; sewing-implements in a crystal-case &c). 
 
 A seal for wax-impressions of the escutcheon of the Da- 
 nish kingdom engraved on two silverplates set in bronze, on 
 the one, the obverse: the king on the throne, surrounded by the 
 three lions; on the other, the reverse: the arms of the kingdom, 
 as used in the earliest stage of absolutism. — The escutcheon 
 of Denmark in enamel (by Barbette, 1694). 
 
53 
 
 In addition wc will name as characteristic illustration of the 
 times: a piece of smelted gold which the landgrave of Hesse- 
 Homburg himself made from a piece of lead. A portion of the 
 original lead, from which the gold was transmuted lies beside it. - 
 Presented to Christian V 1695. — Finally we will point out: 
 
 A little picture of Christian IV in a frame of gilded 
 wood. Behind we read the following verse: 
 
 Min Sonne-Son og storste Naffne, 
 Du ligner mig r Mact og Moed: 
 Ach lad ded nu min lefifning gaffne, 
 Du oc som jeg est Xaade-Goedl 
 1685. 
 
 (My grandson and greatest name-sake, thou art m\- equal in 
 power and spirit, oh! let it now profit my daughter, that thou, 
 as I, art merciful and good.) 
 
 This picture was sent from her prison to Christian V by 
 Eleonora Kristina Ulfeld, when she had learned, that her envious 
 enemy Sophia Amalia was dead in February- 1685. She relates 
 in the wonderful history of her sufferings (sjammersmindet which 
 she wrote in prison) , that she had herself painted the picture and 
 gilded the frame. The verse, which she had likewise composed 
 and written, was her petition for liberty, which was finally granted 
 her in May 1685, after she had undergone a severe and strict 
 confinement from August 1663. The rest of her life — 13 years 
 — was passed in Maribo cloister. She died March i6th 1698 aged 
 almost "J"] years. A beautiful souvenir of the aged lady's gratitude, 
 as well as of her persevering industry the collection possesses in: 
 
 the portrait of Christian V, which she embroidered 
 during her residence in Maribo. It is embroidered with silk. 
 The frame on the contrary, which .shows the four emblems of 
 royalty: the crown, the .sword, the sceptre and the globe, in raised 
 work, is wrought with gold thread. It is with the frame 56 inches 
 high and 44 inches broad. Upon that part of the picture, nearest 
 the edge of the enclosing frame, she has worked the following verse: 
 
 See her en Konge goed, en englesielet Mand, 
 Der i Gudsfrogt med Ret regierer Folck oc Land, 
 See her en stoer Monarck, hvis Hofved waerdig war, 
 At hand i tusind Aar Allwerdens Croner bar. 
 
 (See here a good king, a man with an angels mind, who in piety 
 ju.stly governs the people and land; .see here a great monarch, 
 
54 
 
 whose head were worthy that he for a thousand years wore all 
 the crowns of the world.) 
 
 Of the other pictures on the wall we will here notice: 
 
 Many portraits of Christian V and queen Charlotta Amalia. — 
 Prince George in the dress of tlie order of the garter (marble 
 relievo). — A painting in waters colours representing Copenhagen 
 in the time of Christian V. — Christian V as a child (the originals 
 of the cannons therein delineated stands under the picture on the 
 floor). — Sophia Amalia Moth. — An unfinished painting, in which 
 are Christian V, Ulrich Frederik Gyldenlove and the earl of 
 Oldenburg. — Many pictures in relievo in ivory (medallionpor- 
 traits, landscapes &c.). — And further Christian V in profile carved 
 in box wood &c. — 
 
 Before leaving this saloon we will rest a moment by the little 
 anchor, that hangs by the fire place. It shows traces of having 
 been covered with gilding and underneath we read a little verse 
 of Kingo, in which it is said: 
 
 »To sterkke Anker brast og maatte bolger vige, 
 Men ieg holt fast oppaa Monarkens tvilling Rige.« 
 
 »Two strong anchors broke and had to drive before the waves, 
 But I held fast to the monarchs twin-kingdom.* 
 
 Tradition states that this anchor saved the kings ship during a 
 storm by Christians0 near Bornholm (1687); a medal was struck 
 to perpetuate the memory of this event and is preserved in the 
 collection of coins and medals. 
 
 Tlie totvcr room 
 
 is hung with figured Chinese plush upon a gold ground. The 
 ceiling is of wood divided into panels, with attached pendants; 
 it is also decorated with painting and gilding. 
 
 In the glass cabinet: a large goblet and two large oval 
 tureens with covers of gold enamelled and thickly set with 
 cameos and precious stones, that belong partly to the ancient and 
 partly to the more modern time. 
 
 (We will here only incidentally quote a tradition, of defective 
 authenticity, which asserts, that one of the tureens formed part of 
 the baptismal present given by the States General to Ulfeld during 
 his embassy to Holland 1647, when the whole of the States 
 General stood godfathers to the son Leonora Kristina bore during 
 their residence at L'Hague and who after the wisli of the nume- 
 rous godfathers received in baptism the name Leo Belgicus). 
 
55 
 
 A gold jug ornamented with embossed work and enamel. — 
 An enamelled gold beaker. — Two bowls of Jade orna- 
 mented with enamel &c. 
 
 These bowls are by reason of their size exceedingly valuable 
 since jade, which is greatly monopolized by the Chinese (who call 
 
 The Wismar goblet. 
 
 it >Yu.) and only used for rare and magnificent objects, has al- 
 ways stood at a very high price. 
 
 A very rare collection (12 items) of cut cr>-stal articles of 
 different sizes. We will confine ourselves to particularizing the 
 so-called Wismar goblet. 
 
 The main piece, which bears the form of a fl>ing fish, is by 
 help of enamelled, ruby-decorated goldrings composed in part of 
 
^ 
 
 56 
 
 somewhat large crystals: it is nearly 13 inches long, and borne 
 by two delphins inter-twined, whose heads rest upon a dish (like 
 all the rest of crystal) about 1 1 inches long. On the taking of 
 Wismar December 13* 1675 it was presented by the Swedish 
 general as a sign of submission to the conqueror Christian V; 
 hence its name. 
 
 Further co.stly objects (9 pieces) of lithoxylon (petrefied 
 wood) onyx, serpentine, jasper, heliotrope and agate with 
 enamelled goldsettings &c. 
 
 Many cut glassar tides, amongst which a champagneglass 
 20 inches high with the following verse engraved upon it: 
 
 »Wer mit Bachus kompt ins Spiel, 
 Seh sich fiir und trau nicht viel, 
 Nimpt er dir dein Kopfif nur ein, 
 So seind die Fusze nimmer dein.« 
 
 Upon the walls hangs: A bust portrait of the brother in 
 law of Christian V, Charles landgrave of Hesse. It is 12 inches 
 high and ii inches broad, oval and composed of stones. The 
 portrait, which, in relievo, is formed of crystal, agate, lapis lazuli, 
 onyx, cornelian and chalcedony, rises from a ground of agate. 
 The frame is gilded metal. 
 
 Notice also here: A round can of white and blue Chinese 
 porcelain with mountings of silver and a silver crown in the 
 middle of the cover, that rests upon intricate wreathings of the 
 name of queen Charlotta Amalia. It belonged to her and was 
 brought as a present in the first ship, that sailed from Denmark 
 to China. 
 
 It was under Christian V that commerce in Denmark sprung 
 properly to life, and that the Danes began to employ their own 
 shipping in the merchant service. Before this all important trade 
 had been left at first to the Hanse and afterwards to the Dutch 
 and English; and the attempt that was made by Christian IV to 
 call to life an independent Danish commerce (by the appointment 
 of guard-ships, the institution of an East-India Co. &c.) did not 
 materially prosper, in part owing to his last unfortunate war. 
 During the miseries that Denmark endured under Frederik III it 
 sunk lower and lower; but now, when years had passed in peace, 
 and Christian V by an ordinance of May 24^ 1671, in which he 
 revived the idea of the guard-ships of Christian IV, had encouraged 
 Danish merchants to build vessels adapted for long voyages, gran- 
 
57 
 
 ting them trade privileges and exemptions from custom dues in 
 proportion to the size of the ship; when St. Thomas and St. Jan 
 (1672) were acquired &c. — then by degrees Danish trade ex- 
 panded mightily; so much the more, as the greater part of the 
 other commercial states of Europe at the end of the i/tl' century 
 were entangled in a war that clogged all their trade and commerce. 
 
 Lastly let us call attention to the pictures hung in the tower 
 room: 
 
 Many portraits of Christian V. — A good portrait of Grififen- 
 feld. — Two paintings, the one of which shows us the coronation 
 of Christian V in the chapel of the palace of Frederiksborg, the 
 other represents him as presiding over the supreme court. — 
 A double portrait (on a fluted ground) of Frederik IV as prince 
 and his sister Sophia Hedevig. — The electress Vilhelmine Ernestine. 
 — A representation of the Danish crowns. — A number of small 
 paintings (portraits, flowerpieces &c.) mounted in frames of silver 
 filigree and executed by the princess Sophia Hedevig. — Further 
 a number of relievo portraits in ivory. 
 
 Amongst the furniture preserved here (4 tables, a cabinet 
 japanned and inlaid with mosaic, many carved chairs &c.) we will 
 specify a table, whose slab is covered with embroidery, the work 
 of queen Charlotta Amalia, bearing allusion to a little mystification 
 she was once the subject of at the card table. 
 
 After we have thus made acquaintance with the ground floor 
 and the most important objects contained there, we will continue 
 our wandering up the winding-staircase to the first floor. Upon 
 the way a series of historical portraits glide past us: 
 
 Simon Paulli, physician and botanist, who died 1680, and his 
 wife Elizabeth Fabritius. — The learned Villum Vorm, who died 
 1704. — Kort Adeler, admiral. — Grififenfeld (3 times). — The 
 mother of Grififenfeld, Marie Schumacher, born Motzfeld. — Niels 
 Juel, admiral. — His brother, Jens Juel. — Thomas Bartholin, 
 a celebrated physician, who died 1680. — Ole Borch, a renowned 
 chemist, who died 1690. — Tormod Torfaeus, a learned historian, 
 born in Iceland 1636, died in Copenhagen 17 19. — Erik Pontoppidan, 
 a clergyman celebrated for his learning, died 1678. — Hcnrik Ernst, 
 a learned lawyer, died 1665. — P. Reetz, a statesman, died 1674. ~ 
 Lambert v. Haven, renowned architect, died 1695. — Adam Olearius, 
 placed with duke Frederik III of Holstein-Gottorp. Henrik Gerner, 
 bishop, who died 1700. — Marie Schumacher (Griftenfeld's sister) 
 and her husband burgomaster Fogh ^ Frederik Alefeldt, count 
 
58 
 
 of Langeland, statesman. — Oluf Rosenkrants, a learned lawyer, 
 who died 1685, and many others. 
 
 The >/Rose'i. 
 
 Such was the name of a large oblong space in the centre of 
 the second floor, which perhaps in days long fled had its decora- 
 tions of one kind or another, but which in that case, had gradually 
 fallen a sorrowful victim to the tooth of time; for before the 
 new arrangement of the museum it consisted merely of four walls 
 (sparely hung with paintings) within which for a long period the 
 state-lottery held its yearly drawings. The space is now somewhat 
 less than formerly, but as a compensation it has received a fitting-up 
 and arrangement, which give it a suitable place in the historical 
 series, so that it forms a transition from the time of Christian V 
 to that of Frederik IV. In its furniture, portraits and the rest of 
 its decorations it represents both of these monarchs; we will there- 
 fore name at once the articles it conserves: 
 
 Upon the three walls four tapestries of unequalled beauty 
 and rarity. 
 
 These hangings were first brought from the lumber room and 
 hang up here in the present day. Three of them consist of a 
 lilac silk texture upon which mythological representations after the 
 pictures of Raphael and other renowned painters (arabesques, flowers, 
 different animals &c.) are embroidered with gold and silver thread, 
 and painted with colours. The 4th (to the right) is of gold moire 
 with silk embroidered medallions, that represent scenes from the 
 history of Greece &c. These tapestries date beyond doubt from 
 the second journey of Frederik IV to Italy. 
 
 Under the ceiling, that is now decorated with four paintings 
 of Krock (i, Juno and Fortuna; 2, Fortuna) and ofCoiffre (3, Venus, 
 who dresses, while Cupid sits in her chariot; 4, Secresy), there 
 hangs a chandelier of rock-crystal and cut iron, of extra- 
 ordinary value. After the tradition a gift to Christian V from 
 Louis XIV the time that he supporting the police of Griffenfeld 
 tried to prevent the Scanian war. 
 
 In the middle of the floor (at present an inlaid floor of oak- 
 wood) is a table with an arm-chair belonging to it. 
 
 Until our own days these objects were used by the king when 
 he opened the supreme court of justice and presided amongst the 
 judges. With the exception of the slab of the table, the seat 
 and back of the chair, which are ornamented with red velvet and 
 gold embroidery (now somewhat worn and faded) both pieces are 
 
6o 
 
 plated with silver. On the back of the chair rest is seen the 
 Norwegian lion with the curved axe. — From a mark engraved 
 in the silver covering we discover that these objects date from 
 October 171 5 (the birthday of Frederik IV) and it is said they 
 were a present to the king from his last queen, Anna Sophia. 
 This is indicated amongst other things by the placing of the 
 Norwegian arms upon the chair: the silver was brought from the 
 shaft belonging to Anna Sophia in the Kongsberg silvermines. 
 
 Of the rest of the furniture that is specially noticeable: 
 A large well-preserved cabinet with a rich inlaying of mosaic. 
 
 — Two mirrors with gilded frames, of which one is most beauti- 
 fully carved with figures and rich mountings. — Carved chairs 
 with figured gilt leather covers. 
 
 Upon the walls: 
 Portraits of Christian V and queen Charlotta Amalia, set in 
 larges, somewhat heavy, yet richly carved frames of gilded wood. 
 
 — The landgrave Charles of Hesse. — Prince George (many 
 times). — The princess Sophia Hedevig. — Queen Ulrikke Eleonora 
 (Christian V's sister and mother of Charles XII of Sweden). — 
 Frederik IV (painted by Rigaud, the famous court painter of 
 Louis XIV) and others. Further: A marble statuette of Christian V 
 in his coronation mantle, 22 inches high. — An ivory equestrian 
 statuette of Christian V. Two marble busts of Frederik IV and 
 his first queen, Louise. 
 
 Christian V died August 25A 1699. 
 
 The time of Frederik IV (1699-1730). 
 
 During many years an ill feeling had grown up between the 
 kings of Denmark and the dukes of Gottorp, whose personal 
 interest constantly set more and more in a direction inimical to 
 Denmark, showing itself, amongst other aspects, in their pertinacious 
 endeavours to germanise Sleswick. Frederik III had sought to 
 improve their relationship by a marriage between his daughter 
 Frederikke Amalia and duke Christian Albrecht; which union 
 however brought no change for the better; and when in 1675 
 Christian V forced from his brother in law the agreement of 
 Rendsburg, which was more in harmony with a wise and calcula- 
 ting policy than with the requirements of justice, the gulf between 
 them could no longer be bridged over. It is true that during the 
 latter years of Christian V the relations between him and Christian 
 Albrecht were apparently more tolerable, but when in 1694 Christian 
 
BO- 
 
 Frederik 1\ 
 
Albrecht died and was succeeded by his son, duke Frederik IV, 
 the tension increased daily; the young duke married Hedvig 
 Sophia, the sister of Charles XII of Sweden, entered into aUiance 
 with Sweden, raised fortresses &c., and after the death of Christian V 
 it had extended so far that the sword only could cut the knot. 
 The alliance of Denmark with Peter the great and Augustus of 
 Saxony was not however sufficient against the help that Gottorp 
 received from other powers, particularly from Sweden, and in the 
 peace of Travendal (August 1700) king P'rederik was obliged to 
 acknowledge the sovereignity of the duke and to pay him a large 
 sum of money as well. The mutual illwill continued to smoulder 
 and during the eleven years war (1709 — 1720) with' Sweden it 
 burst into a flame, when the ducal government after the battle of 
 Gadebusch had opened the fortress of Tonning to the Swedish 
 general Magnus Stenbock. The consequence was that king Frederik IV 
 took again Gottorp's portion of the dukedom of Sleswick, which 
 in the peace of Frederiksborg 1720 was acknowledged by Sweden 
 and guarantied by France and England »for ever«. 
 
 This was the great achievement of king Frederik IV's policy; 
 but in many other respects he was worthy of being held ■ in hono- 
 rable remembrace by posterity; he was laborious and a good 
 householder; had a tender heart for the oppressed peasantry, 
 a warm interest in the enlightenment of the people, in commerce 
 and industry, and had also a lively taste for art. During his stay 
 in Italy — the last time 1708—9 — his eyes were ever open to 
 art-objects, and Rosenborg, possesses many memorials of this. 
 
 Frederik IV was twice married , i , with Louise (princesse of 
 Mecklenburg Giistrow), who died 1721, 2, with Anna Sophia 
 (daughter of the Grandchancellor Count Konrad Reventlow) , who 
 died 1743. 
 
 We make acquaintance with the period of Frederik IV on 
 this floor, in the »Rose« (see before), the mirror room, the north 
 end-saloon and the north-east tower-room; and in the uppermost 
 story in the knights hall and the glass-room. 
 
 TJie mirror room 
 
 lies in the west tower by the side of the »Rose« with which it is 
 connected by a short passage. Its walls, ceiling and an oblong 
 circle in the middle of the floor are covered with plate-glass. The 
 rest of the floor has a beautifully designed inlaying of wood and 
 bone of different colours. 
 
63 
 
 The north cud-saloon 
 is connected with the i-Rose by a passage, hung with gold-figured 
 leather, in which we find a number of portraits: Frederik IV 
 (twice). — Queen Louise. — Charles XII. — The same with his 
 sister Hedevig Sophia (as children upon one canvas, painted by 
 Ehrenstrahl). — The sister of the same, Hedevig Sophia. — The 
 sister of the same, Ulrikka Eleonora the younger. — The admiral 
 Tordenskjold. — General Poul Levenern. — The painter Heinrich 
 Krock. — Henrik Meyercrone (a statesman, who died 1707) painted 
 by Rigaud. — The renowned courtier Frederik Walther. — A bust 
 in gilded metal of the czar Peter the great. — We notice further 
 in this passage: an ironstove (from 1729) the upper part of 
 which as well as the foot is of Delft-ware; also a very beautiful 
 cabinet with inlaying of Florentine mosaic. 
 
 The saloon itself was formerly called the > Brown Apartment 
 perhaps because the wainscoting of the black, gold filleted panels 
 is brown. The walls are for the rest covered with hautelisse 
 tapestry representing scenes from mythology. The ceiling is 
 wainscoted and painted. The heat-reflecting balls by the fire 
 place, before which there is an embroidered screen, are of silver. 
 Above the chimney-piece hangs a painting representing general 
 Magnus Stenbock, who sits surrounded by poultry' with a paper 
 in his hand on which is written: »Herr lasz deinen gefangenen 
 Los« (Lord set they prisoner free). It was painted for Frederik IV 
 by Stenbock during his imprisonment (171 3) as a sort of petition 
 for freedom. 
 
 After Stenbock, who as before mentioned had escaped to 
 Tgnning May 16th 1713, had been obliged to surrender with his 
 whole army, he was brought to Copenhagen, where at first he 
 was allowed to dwell in his own house and very mildly treated. 
 Not before it was discovered that he misused this freedom by 
 entering into a correspondence with the enemies of Denmark, 
 was he placed under stricter surveillance in the citadel of Copen- 
 hagen, where he died February 2y^ ^7^7- 
 
 Upon the walls we find also the following pictures: 
 
 Many portraits of Frederik IV of difterent sizes (2 in oil, 4 in 
 water-colour on paper, i relievo in wax). — Queen Louise (3). — 
 Queen Anna Sophia. — Princess Sophia Hedevig. — 3 small 
 portraits of the brothers of Frederik IV : Christian (who died 1695), 
 William and Charles. — The anointment of Frederik IV and 
 queen Louise in the chapel of Frederiksborg (painted by the 
 younger Grotschilling, who died as surveyor of the artchamber 
 
64 
 
 1737)- — The Lying in State (castrum doloris) of Frederik IV in 
 the castle chapel of Odense (water-colour by Schnitter). 
 
 The furniture of the time of Frederik IV evinces in the 
 highest degree his artistic tastes and gives an excellent exposition 
 of the rococo style, above all as it has developed itself in Italy 
 in the beginning of the i8tli century; for this king brought from 
 thence much of the furniture now preserved in his rooms in Rosen- 
 borg. In this saloon we will specially notice: 
 
 A large, and in spite of time's distructive finger, still beautiful 
 ebony cabinet. The under part is formed of boldly carved 
 figures in gilded wood ; and it is further ornamented with metal 
 figures, inlaying of different coloured stones and with small scrip- 
 tural representations in water-colour (under glass) upon the dra- 
 wers. — (On the top of this cabinet are now placed two particularly 
 rare Persian wine-jugs of porcelain with fine drawings in gold 
 (flowers &c. upon a blue ground) ; around the slender neck of each 
 two handles of silver-gilt; upon the covers the crowned monogram 
 of queen Louise in silvergilt.) 
 
 Many smaller cabinets inlaid with mosaic &c. — Three 
 time-pieces (temple- formed) ornamented with tortoise-shell, em- 
 bossed silver ornaments, enamel — even with pearls and precious 
 stones, executed in Florence by order of Frederik IV. 
 
 A medicine-chest of tortoise-shell ornamented with plates 
 and figures of embossed silver; above upon a pyramide mounted 
 in silver a little watch. 
 
 An extraordinary beautiful table with slab of excee- 
 dingly fine Florentine mosaic (fruits, flowers, flying birds &c.). 
 The legs of the table are twined and richly ornamented with gilded 
 metal work. 
 
 A table, a pair of gueridones and a mirror, whose frame, 
 as well as the before mentioned objects, is of box- wood inlaid with 
 various other woods in the Japanese style. 
 
 A table of fine inlaid work, upon which stands a tea-urn of 
 blue and white porcelain with a set of six cups, that are lined with 
 silver. On the cover of the urn is the monogram of Frederik IV; 
 tradition says they were brought home by the first ship, that sailed 
 to and from China, as a present to the king. 
 
 Under the ceiling hangs a very costly chandelier of cut 
 rock-crystal. 
 
 In the closet to the right: dresses, weapons &c. 
 
 Of the four dresses preserved here we would draw particular 
 attention to that of crimson velvet with the rich silver-embroidery. 
 
65 
 
 Upon the sides under tlic arms the skirt is laid in six folds (in 
 the midst of the folds on the left side a slit is cut, through which 
 to pass the sword. The waistcoat is of blue silvered material 
 It was worn by Frederik I\^ as a bridegroom December 511. 1695 
 
 TI.e 
 
 The most striking weapons are: The sword of Ch.irles XII 
 It is a sword simply mounted, about 42 inches long, with brass 
 
66 
 
 hilt and black leather sheath. Given by king Charles to the valiant 
 colonel Kruse, who with 200 dragons on the 91^1 of March 1716 
 threw himself upon the Swedish avant guard of 600 horsemen, 
 led by king Charles himself, and strove long and bravely before, 
 succumbing to superiority of numbers, he finally submitted. — 
 Further: A broad sword with gold hilt. Frederik IV's double 
 monogram upon the basket-hilt. — Two hangers, also with gold 
 hilts , which are decorated with pearls, rubies and the Norwegian 
 lion in enamel. They belonged to prince Charles, the brother of 
 Frederik IV. — A hunting-knife with an agate handle, on 
 which is a setting of garnets. — A sword with a gold hilt 
 and an agate clasp,' both parts somewhat bent and injured. 
 
 This happened by a fall the king had, when in 1729 he was 
 present at the casting of some cannons in the » Cannon- foundry* 
 (>>Gjethuset«); on which occasion a mould unluckily burst and the 
 fluid mass of metal streamed out and set fire to the raised plat- 
 form , upon which the king sat. As in the perplexity he hastened 
 down the steep and narrow backstairs, he tripped* and was precipi- 
 tated from so considerable a height, that he could scarcely have 
 escaped with life, had not his valet caught him in his outstretched 
 arms. Nevertheless how severe the fall must have been, can be 
 seen from the injury sustained by the sword here spoken of, and 
 which was worn by the king at the time; it is also known that 
 he never recovered from its effects. 
 
 A brace of pistols; the stocks of ivory and ornamented 
 with silver-gilt mountings; the tubes bronzed and inlaid with gold. 
 A present from Louis XIV to Frederik IV. Beside these we find 
 in the closet a great many other fire-arms (pistols & guns) of 
 which some, the work of the renowned gunsmiths Frederik Oster- 
 mann and Henrik Kappel, are exquisitely finished. 
 
 Among the numerous walking-sticks (19) in this closet we 
 will notice two: a tortoises hell stick with a gold knob, upon 
 which we read in enamel: ;^mes mouvemens sont cache«, and a 
 cane with a diamond mounted enamelled gold knob. 
 A present to Frederik IV from his sister Sophia Hedevig, who 
 herself enamelled the knob. 
 
 We further find in this closet a magnificent copy of the »lex 
 regia« bound in gold embroidered red velvet, that was presented 
 to Frederik IV, when printed for the first time: 
 
 In the closet in the south wall we notice: 
 The Sleswick merorial goblets i.e. The Eiderstream- 
 goblet and the Allegiance-goblet; they are both of gold 
 and weigh with the covers, the first 47 ounces, the last 38. 
 
^1 
 
 I, The Eiderstream-goblet. Upon the lid is a winged 
 genius blowing a trumpet with the inscription: 
 Gud, som gav vor Konge Fred, 
 Lad dem Begge blive ved. 
 
 The Eiderstream-goblet. 
 
 (God, {who gave peace to our king, preser\'c them both.) The 
 inscription upon the front medallion (from 1720) points the Eider 
 as the boundary river of Denmark: 
 
 Fra Kong Friderichs Arve Rige 
 
 Eyder-Strommen ej vil vige; 
 
 5* 
 
68 
 
 (From king Fridrich's hereditary monarchy the Eiderstream will 
 not recede.) The medal behind shows the fortress of Cronbourg 
 and bears the inscription : 
 
 Dend Told Som Bor Told 1720. 
 
 (Customs to him to whom customs are due.) Between these two 
 medallions, in engraved and embossed work, is on one side a 
 representation of the marriage of Frederik IV and Anna Sophia, 
 and of her coronation upon the other; also the following inscrip- 
 tion on the first: 
 
 Af Guds og Kongens haand | 
 
 Blev Knyttet dette baand. 
 
 (By the hand of God and of the king this tie was bound), and 
 this upon the second: 
 
 Gud Sette evig fast 
 
 Kong Fridrichs Arve Throne, 
 
 Som Skenkte sin Gemahl 
 
 Sit Hjerte, Spir og Crone. 
 
 (May God preserve for ever king Fridrich's hereditary throne, who 
 bestowed on his spouse his heart, sceptre and crown.) 
 
 2, The Allegiance-goblet. On the front it bears a re- 
 presentation of the ceremony of taking the oaths of allegiance in 
 Gottorp castle with the inscriptions written on a white enamelled 
 grund, above: 
 
 Staenderne i Fyrstend: Schlesvig hylde Kong Friderich IV 
 1 72 1 d. 4 Sept. 
 
 (The inhabitants of the principality of Slesvick pay homage to 
 king Friederich IV 1721 the 4th of Sept.) underneath: 
 
 At anden halve part 
 
 Af Schlesvig Danmarks bleev. 
 
 Den fierde Friderich 
 
 Med fliid igjennem dreev. 
 
 (That the other half of Sleswick became a part of Denmark 
 Friederich IV with energy effectuated.) Behind appears the 
 portrait of the king with the date October 11* 1721 (his birth 
 day) upon a white enamelled ground, as also the inscription: 
 
 Det halve er forbi, 
 
 Gud fylde hundred aarl 
 
 En bedre Souverain 
 • Vor Norden aldrigf faar. 
 
69 
 
 (The half is passed, may God fill a hundred years! A better 
 king our North never will gain.) On the sides between are two 
 medallions commemorative of the fall of Charles XII with these 
 inscriptions: 
 
 
 The Allegiance-goblet. 
 
 Den Svenske Love fait 
 
 For Norske Lovens Fod; 
 
 Der midste hand Sit Lif 
 
 Og Sidste helte Blod. 
 (The Swedish lion fell at the foot of Norway's lion; there he lost 
 his life and last heroic blood) and 
 
70 
 
 Saa var bans Skaebne; 
 Friderichshall d. ii December 17 18. 
 
 (Such was his fate; Friderichshald the iit'i December 1718.) 
 
 It was formerly the custom over the whole of Europe, as is 
 well known, to attach the memory of remarkable events with such 
 goblets; in Windsoor castle, e. g. , a Union-goblet is preserved 
 to commemorate the union of England and Scotland. The goblets 
 here described connect themselves with the peace of Frederiksborg, 
 by which amongst other advantages Denmark recovered the privi- 
 lege, which she had lost by the peace of Bromsebro (1645), o^ 
 demanding toll of Swedish ships, that passed the Sound, and got 
 the incorporation of the old Danish country of Sleswick acknow- 
 ledged and guaranteed. 
 
 Between these two goblets stands a large gold goblet with 
 an enamelled and diamond decorated regal crown upon the cover 
 and the monogram of Frederik IV in diamonds upon the side. 
 It rests upon three lions, each of which bears a blank shield, at 
 present without name or escutcheon. It weighs about 137 oz. 
 
 Count U. A. Holstein, married to a half-sister of Anna Sophia 
 Reventlov, had helped the king to carry off this lady from Klaus- 
 holm Juni 26tli 17 12, and when she was crowned queen of Den- 
 mark, he received this goblet from his illustrious brother in law 
 as a souvenir of this. After the loss of our fleet in 1807 it was 
 given as a subscription towards a new fleet to the finances and 
 would also have been melted into money, but Frederik VI redee- 
 med it and thus preserved it to posterity. — 
 
 Eight gold goblets, partly ornamented with the monogram 
 of Frederik IV, partly engraved ornaments and are finished in an 
 exceedingly beautiful manner: notice particularly two shallow goblets 
 {mustache's goblets), that are distinguishable from the extraordinary 
 taste and delicacy of their ornamentation. 
 
 A multitude of objects, of value as excellent specimens of 
 the art of that day in various directions: 
 
 A toilet set (looking-glass, a pair of candle sticks, a brush 
 and seven boxes) of silver with unusually rich and tasteful enamel. 
 It belonged to Sophia Hedevig. — A travelling-case of gold 
 with spoon, knife and fork and four small spaces; bears the 
 monogram of Frederik IV in enamel. — Two large cut ruby 
 glasses with covers, presented to Frederik IV by Ernst duke of 
 Saxe-Lauenburg 1714. — A large bowl of Icelandic obsidian 
 (volcanic glass). A silver sheep stands in the middle of the hid; 
 
71 
 
 it is decorated with the painted miniature portraits -^ l'''-^*^^^''-'^ ^;^ 
 and Anna Sophia, surrounded by rubies and garnets. - Tuo 
 
 A large gold goblc 
 
 ;:;.:;.s»'n::,-:; ■ -t.=..^.tr" 
 
72 
 
 the centre, all ornamented with diamonds and finely finished silver 
 garlands twisted round them. — A little enamelled jewel-case, 
 richly set with diamonds &c. — An ivory fan, ornamented with 
 exceedingly fine painting; Frederik IV brought it home with him 
 from Italy as a present to his queen Louise. — Many articles of 
 amber, amongst others two small fl aeons with mountings and 
 chains of gold. — A bowl, formed of an enormous garnet 
 (in the hid, which is formed of numerous small garnets, are 
 read the crowned initials S. H.) with two handles formed of green 
 enamelled serpents; it belonged to Sophia Hedevig. — Two large 
 pearls, the one in the form of a swan with diamond wings, the 
 other in that of a lamb. — A silver tree with green enamelled 
 leaves and six emeralds of considerable size, cut in the form of 
 clusters of grapes. — Two Moors of ebony with bows and 
 arrows of gold, decorated with precious stones. — The portrait 
 of Frederik IV, set in a pin with frame and crown of diamonds, 
 and many small portraits with similar settings. — A lady's mirror 
 in a broad enamelled frame, . richly inlaid with Bohemian and other 
 stones; according to tradition a present from Anna, queen of 
 England. — One smaller, enamelled and ornamented with rose- 
 diamonds. — Two pyramidal inkstands in gold, the larger 
 belonged tho Frederik IV, the smaller to his sister Sophia Hedevig. 
 
 A pack of cards; the different colours and the count-cards 
 are executed in silk embroidery upon paper; it belonged to queen 
 Anna Sophia. 
 
 Two purses embroidered in gold and silver thread by the 
 princess Sophia Hedevig. — Seven of the small paintings of this 
 princess (landscapes, portraits, flower-pieces); five of these are in 
 finely finished frames of silver filigree, the other two in silvergilt 
 frames with enamelled gold decorations, diamonds and rubies. 
 
 The little oval mirror, placed in the centre of one of these 
 paintings, tells us an anecdote: When Frederik IV after the oath 
 of fealty in Gottorp visited his sister in Vemmetofte, where she 
 resided, she presented him with this picture as a birthday present 
 (see the date upon the picture) adding at the same time, that he 
 could no longer complain of the unlucky painter's want of skill 
 in hitting off" a portrait — for he could himself see what an ex- 
 cellent likeness it was! 
 
 A small China cup and saucer, decorated with reference 
 to the peace of Frederiksborg. They belonged to a large collec- 
 tion, which Frederik IV caused to be made in China as a sort oi 
 memorial set. 
 
73 
 
 Lastly a quantity of glass articles (goblets, beakers, decan- 
 ters), whose cut escutcheons and inscriptions have reference to the 
 history of that time. Of these we will name a large beaker with 
 a cover, in which are trophies and the following carving: 
 
 On the one side, the monogram of Charles XII, upon the other 
 Hercules with the club between two pillars. Above — this inscrip- 
 tion : Non hasc vltima meta laborum ; underneath — this : XII labores 
 Hercvlei. Around in twelve oval rings: Desc. in Seel I7(X). — 
 Narva 1700. — Traidune 1701. — Pax Traventh. — Riga 1701. — 
 Clissow 1702. — Tohrun 1703. — Lemberg 1704. — Grodno 1705. 
 — Fravstad 1706. — Pax Altranst 1706. — Pultows. 
 
 We will now leave the saloon and open the carved oak doors 
 immediately to the left, that lead in to the 
 
 tozver room. 
 
 This room still shows traces of an earlier decoration more 
 magnificent than tasteful, namely Chinese relief-figures of lacquered 
 work on the ceiling and walls, and among them costly stones, 
 turquoise &c. — The eye will however quickly wander in search 
 of some other object, but will find difficulty in deciding where 
 to rest, for everywhere it falls upon numerous flowers of art, each 
 of which deserves particular attention. 
 
 We notice here a costly set of furniture, chairs, mirrors, 
 tables and cabinets, all covered with beautiful embo.ssed silver- 
 plates. — A chandelier of rock-crystal for eight lights. 
 
 Of portraits we remark: Frederik IV (by Denner); .queen 
 Louise (by Wahl); Magnus Berg (a renowned sculptur, born in 
 Norway 1666, died 1739). 
 
 We find upon the walls a number of objects, the work of 
 the last named artist (37), works in ivory, Biblical and alle- 
 gorical representations, many of which are excellent both as 
 regards the composition and the design (notice for ex: the Scour- 
 ging of Christ &c.). Besides these we find upon the walls a 
 number of relief-works in ivory (portraits &c.). 
 
 Upon the silver-cabinet is placed: i, a drinking horn, for- 
 med of an elephants tooth (22 inches long); 2, one of the 
 horn of a rhinoceros (20 inches long). The last mentioned, 
 which is lined with silver-gilt, has upon the middle two silver-gilt 
 rings that, in an obligue position, hold it to the silver-gilt foot, 
 which is 7; inches high, in the form of a warrior, with bow and 
 arrows, kneeling with the drinkinghorn upon his neck. 
 
74 
 
 In the cabinet to the left: many objects carved and 
 turned in ivory. 
 
 Amongst these two works executed by Magnus Stenbock in 
 prison (17 14), namely a box and a goblet, round which a ser- 
 pent is entwined. Likewise two specimens of turners-work by 
 the czar Peter the Great: a box with his bust upon the cover, 
 in relievo, crowned with a laurel wreath, and a large covered 
 goblet, upon which are many heads and arabesques, turned in 
 relievo. Both these were given to Frederik IV by the czar during 
 his residence in Denmark (from July to October 17 16). 
 
 Many exceedingly tasteful articles in Genoese filigree- and 
 coral-work &c. resulting from the journey of Frederik IV in 
 Italy. — Silvercups, nautilus &c. — A large toilet-set of 
 silver (18 articles), that belonged to the sistet of Charles XII, 
 Hedevig Sophia (who was married to duke Frederik IV of Gottorp, 
 of whom we have before spoken, and who fell in Poland on the 
 battle-field of Klissow 1702). 
 
 Notice further, placed on the outside of the said cabinet: 
 A s t a f f of a » r u n n e r « of ivory , 49 inches long , composed of 
 ten ivory tubes, that move upon an iron pin. After tradition 
 turned by Magnus Stenbock and used by his » runner « for the 
 furtherance of a secret correspondance, which was however dis- 
 covered and made the ground of his stricter imprisonment. 
 
 In the cabinet to the right: A silver equestrian statuette 
 of Frederik IV, on a pedestal likewise of silver. The whole 
 141 inches high. On the pedestal the arms of the provinces in 
 enamel, surrounded by the motto of the king: Deus Mihi Adjutor. 
 It was presented to the king by queen Louise as a new years gift 
 1 701 and was the work of the royal goldsmith Andreas Normann. 
 
 An allegorical representation of Frederik IV as the 
 Conqueror, in silver. 
 
 It bears allusion to the peace of Frederiksborg and is executed 
 by Peter Klein. The king, in the act of being crowned b)^ the 
 goddess of victory, treads » Mischief « under his feet. Below, the 
 lion with the drawn sword and the arms of the northern kingdoms. 
 Among the many inscriptions upon the pedestal notice particularly 
 that under the bas-relief Sleswick, who, kneeling, reaches out the 
 Sleswick shield to Denmark, by whom the arms of the whole 
 kingdom are held: 
 
 Tluad Fiendens List fra Danmark reev, 
 Kong Friderich tilbage dreev. 
 I720.<. 
 
75 
 
 ^-What <^uile of fob from Denmark tore, 
 King Frederick did again restore. 
 1720. 
 
 A large silver goblet with a cover, 16 inches high; 
 on this the Norwegian lion with the crooked halberd. Outside 
 the cover as well as on the goblet itself is a series of Danish- 
 Norwegian and Swedish coins, from the time of Frederik IV and 
 Charles XII, and an engraved explanation of the more or less 
 happy condition of the northern kingdoms at that time, borne out 
 by reference to the coinage, good or bad, minted in each land. 
 
 A silver cup used by Peter the Great during his sojourn in 
 Copenhagen (1716). — A series of historical silver cups, 
 amongst which one made in 17 13 of Russian copecks as a .sou- 
 venir of Stenbocks defeat, as it is said in the inscription on the cup: 
 
 Nacr Gadebuscher Schlacht, als Steenbock Tonning nam, 
 De Zaar Mit Sinem Swarm toerst in Holsteen Kam, 
 De Mit Der Sachsen Heer dat Gantze Land Dorch Streken, 
 Word ik To Preetz Gemaakt ut Russischen Copeken 
 Tom Denkmahl &c. 
 
 Upon the cabinets: Man)- japanned \'ases of wood. — 
 A silver horse. — 
 
 The knight's-hall and glass-room .see below. 
 
 I'rcderik IV died October 121^1 1730. 
 
 From the time of Christian VI (1730—1746). 
 
 The government of king Christian \T has impre.ssed itself on 
 the memory of the Danish people with a peculiar sensation of 
 coldness and discomfort. A sovereign pair, who by an impassable 
 barrier of stiff and heartless etiquette had distanced themselves far 
 from the mass of the people; a court, whose extravagance and 
 glitter presented a strange contrast to the puritanical humility and 
 sanctity of mind and manners, they required not only of those, 
 who approached their person, but without e.xception of all; Ger- 
 manism obtruding, spreading and mixing in every concern; the 
 wretchedness of the peasantry' — by such gradations of mi.sery is 
 this period usually depicted, so that it is scarcely possible to per- 
 ceive, that nevertheless it has its bright side also; that intrest was 
 shown for trade and industry and manufactures, for science and 
 
Christian \'l. 
 
11 
 
 art in many directions, for the enlightenment of the public, for 
 the advancement of the fleet (count Frederik Danneskjold-Samse) &c. 
 
 Christian VI was by nature an honest, benevolent, right thin- 
 king man, and his haught>- German queen Sophia Magdalena 
 (princess of Brandenburg Kulmbach, who died 1770), has notwith- 
 standing her claims also to a fair place in the memory of posterity 
 His the benefactress of the Danish peasantry, since she made the 
 first step towards freeing them from their bandage by exempting 
 from villeinage those on her estate of Hirschholm, September 
 i6tl> 1 761. 
 
 The articles of the time of Christian VI are found in two 
 rooms, a larger and a smaller one, on the otherside of the passage. 
 The entrance is by a door opposite the tower-room newly described. 
 
 The smaller room, 
 
 containing articles from Christian VI, has been arranged during 
 the present day, and is hung with gold-figured leather; its floor 
 is of peculiarly beautiful inlaid woods of divers colours, and the 
 ceiling is decorated with a beautiful painting: Apollo and the 
 muses. 
 
 The furniture: Two long mirrors with carved and gilded 
 frames and console-tables belonging to them. — A sofa and many 
 stools with gold-brocate furniture. Two gilded armchairs with 
 green silk covers and decorated with gold fringes. — A cabinet, 
 made in 1735 and paid for, according to tradition, with 1000 gold 
 ducats. Behind the doors of the cabinet, which are furnished both 
 outside and in with mirrors, are three rows of drawers richly inlaid. 
 On the pressure of a spring on each of the inner sides of the 
 cabinet a long row of small secret drawers start open. The under 
 portion of the furniture is also rich in inlaid drawers See. In the 
 uppermost drawer under the leaf is found a harpsichord, which 
 must now be regarded as a great curiosity. 
 
 A black japanned toilet table with desk, upon which 
 stands a toilet glass. — A small chest of drawers painted white 
 and ornamented with gliding. 
 
 Upon this stands a vase about an ell and a half, representing 
 the element of water. 
 
 This is one of the latest works of Magnus Berg; after he 
 had occupied himself with it during more than 12 years death 
 surprised him before he had put the finishing hand to it; at the 
 request of Christian \\ , to whom it had been bequeathed by the 
 
Christian VI's smaller room. 
 
The vase of Magmis Berg. 
 
8o 
 
 artist's will, it was therefore completed by the renowned painter 
 and curator of the art-chamber J. S. Wahl. On the top above a 
 glass-dome a swan swims in a musselshell; under -the cupola we 
 see in magnificent carved work the expedition of Galataea over 
 the sea. On the spherical surface of the principal piece are in 
 basrelief Neptune, Galatsea, Polyphemus, Europa, Acis and Galatsea, 
 whilst its more exterior surroundings (handles &c.) are formed of 
 dolphins, nereides and water-spouting tritons. The pedestal is 
 formed of 4 dolphins, who from each corjier spout water into a 
 musselshell. These as well as the nereides and tritons are formed 
 of silver and ivory alternately. The middle • part of the vase is 
 ivory, bound above and beneath by richly gilded, chased and 
 embossed silver work; the band also, that runs over the cupola 
 to bear the swan, is of silver gilt in the form of fruits and leaves. 
 
 Upon the console-tables: Two silver vases, lined with mother 
 of pearl and ornamented by cut stones and cameos. 
 
 Before the window: A little tastefully finished chandelier of 
 amber with many branches. 
 
 In the closet by the window: Two dresses, i, the corona- 
 tion dress of Chr.VI (the upper one); 2, his wedding-garments 
 (/til of August 1 721). The last named, which is exceedingly well 
 preserved, is the most costly of all the dresses in Rosenborg, 
 being as overloaded with magnificence as aught that the wildest 
 rococo taste could devise. The dark brown material, that forms 
 the ground work of the dress, almost wholly disappears under 
 interwoven silk bouquets, whilst these again are oppressed by a 
 thick layer of gold embroidery sewed upon the dress, so that it 
 has acquired a stiffness and weight, that must have rendered it 
 extremely difficult to wear. 
 
 We further find in this closet many guns (6) and pistols (4), 
 that have belonged to Christian VI. 
 
 Over the doors: Two excellent embroideries of gold, silver 
 and silk; the one the escutcheon of Denmark and Brandenburgh- 
 Kulmbach, the other a travelling satchel (has belonged to Sophia 
 Magdalena). 
 
 In the window: A terra-cotta bust of Christian VI. 
 
 The larger room 
 
 is covered with hautelisse-tapestr)^; it has a ceiling-painting (by 
 Coiffre: Flora casting her blessing over Denmark) and a floor of 
 beautiful oak parquetry. We find here a collection of furniture, 
 
that in the highest degree deserves attention, since much of it, 
 by reason of its magnificence, as well as of the art and skill 
 expended upon it, and also its more or less bizzarre character, 
 gives a faithful reflection of the taste of the period. 
 
 Two cabinets: i, the one rests upon a carved gilded pede- 
 stal; the rest of the piece is also excessively ornamented with 
 carving and rich inlayings of mother of pearl and metal. On the 
 door in the centre of the cabinet, and upon the drawers on both 
 sides, we see, on the first: Christian VI, and on the last: the arms 
 of the provinces. — 2, The other is the work of that skilful 
 cabinet-maker Lehmann, who won his celebrity by furnishing 
 Christiansborg castle, which was so magnificently constructed under 
 Christian VI. This is a very large cabinet, the most striking 
 peculiarity of \vhich is a total destitution of straight lines; drawers, 
 doors — all is curve. It is veneered and ornamented with plate- 
 glass, metal &c. 
 
 These pieces most excellenth- characterise the excesses of the 
 rococo style (the decadence): they show what difficulties industry 
 in union with great talent has often been able to overcome, but 
 at the same time how little regard they paid to suitability for 
 the purpose, how often with pains and toil they brought their 
 far-fetched ideas from sources alien to the nature and qualities of 
 the object, instead of emplaying such as simply and naturally 
 presented themselves. 
 
 A turning-lathe in the form of a sort of scrutoire; it 
 belonged to queen Sophia Magdalena. The metal work, wheels &c., 
 \er\- delicately executed, as well as the whole fitting up (it is lined 
 interiorly with red silk) entitle it fully to a place in the workroom 
 of a queen. 
 
 Of the furniture to be further named are 4 gilded arm- 
 chairs, two of them covered with beautiful, well preserved em- 
 broidery. — Two chests of drawers with gilded mountings and 
 stone-tops. — On the last named two toilet-glasses with gilded 
 metal frames and a pair of altar candlesticks of silver with 
 the gilded monogram of Christian VI and Sophia Magdalena; 
 were presented to the church of the Orphan asylum by the royal 
 pair; further, a pair of branch candlesticks of silvergilt, each 
 for four lights. 
 
 Upon the wall above the chests of drawers: Two time- 
 pieces of ebony and silver upon rich stands of the same. 
 A long mirror, the frame carved and gilded &c. 
 
 6 
 
Lehmann s cabinet. 
 
83 
 
 Portraits: i portrait of Christian VI (by Wahl); 3 portraits of 
 different sizes of Sophia Magdalena; 2 portraits of their children, 
 prince Frederik and princess Louise; a portrait of the princess 
 Charlotta Amalia (the sister of Christian VI). 
 
 In one of the windows: A beautiful marble bust of Christian VI, 
 executed by Jens Carlebye. The pedestal is also of marble with 
 gold decorations; on the front is the kings motto: Deo et populo, 
 to the left and right the dates of his birth and death. 
 
 In the other window: The models of two ships of the 
 line, of 70 guns each; the hulls of mother of pearl, amber and 
 tortoise-shell, the rigging of white horse -hair. The one, the 
 Elephant , is 6 inches long and 6 high; it is borne by a merman 
 and a mermaid; the other, 7 inches long and 7 inches high, is 
 raised upon the gilded heads of a merman and a mermaid and 
 some sea animals; an amber-boat with 6 men belongs to the last 
 named ship. They are both the work of a custom-house officier 
 under Christian VI, called Niels Nielsen, of Aalborg (Jutland). 
 
 In the corner of the window on a gilded wooden bracket: 
 A tureen-shaped silver wine-cooler and over this a machine 
 with a cover (that ends in a dolphin). Both of them bear the 
 Danish escutcheon in front. 
 
 In the corner cupboard by the window: A rich collection of 
 small objects of different agates, marble, heliotrope, onyx, 
 jasper, hornstone &c. Notice particularly a large oblong 
 agate bowl resting upon a foot of silver gilt (a merman with a 
 swan). On the rear of the bowl itself is a representation of the 
 Expedition of Galataea over the sea in raised work of silver gilt. 
 
 Upon the turning-lathe: Under shades i, An ivory cup, 
 10; inches high (Sophia Magdalena's work?), 2, The bust of 
 Sophia Magdalena, surrounded by 5 spiral turned pillars, that 
 support a cupola (turned by landgrave William of Hesse). 
 
 Over the turning-lathe: 6 figures in ivory and wood. Forming 
 probably 2 groups, a man, woman and child in each. These 
 pieces resemble perfectly in character and execution some work 
 of the same kind in Munnich and Dresden, that date from the 
 inventor of this kind of work (d : the blending of ivory, wood and 
 coloured gems) Simon, born in Hiedhausen near Munnich in the 
 reign of Maximilian III, and it is therefore natural to suppose, 
 that our pieces are also the work of the aboved named artist. 
 
 Over the door of egress: A little fowling-piece, the stock 
 of which is covered with green velvet; it belonged to queen 
 Sophia Magdalena. — The antlers of 2 stags, the lower being 
 
 6* 
 
those of a hart shot by Sophia Magdalena, which feat (according 
 to an uncertain tradition) occasioned the erection of the magnificent 
 palace of Hirschholm. 
 
 The palace of Hirschholm was erected between the years 
 1733 — 1744. Every resource of art and beauty was called upon 
 to gratify the splendour-loving queen in the construction of this 
 palace, and that the endeavours succeeded in part is proved by 
 the fact, that the knights -hall there is considered as scarcely 
 second to Louis XIV's own magnificent saloons. Christian VI died 
 in this palace and his two immediate successors frequently resided 
 here. Frederik VI suffered the palace to fall into ruins during 
 the years 1810— 1812. 
 
 In the glass jewel-case: A quantity of ornaments of im- 
 mense value, watches &c. , which Sophia Magdalena in her will 
 (October 10* 1747) decided should be preserved in Rosenborg: 
 
 A gold casket with Rose-diamonds presented to her by 
 Christian VI on their marriage 1721. — A pin with the portrait 
 of Christian VI under a diamond. — Another with a magnificent 
 round sapphire, given her by Frederik IV. — Another with an 
 unusually beautiful emeVald, cut by Sophia Magdalena's sister, the 
 princess Sophia. — A » green « watch (jasper) with rubies and 
 brilliants, presented to her by Christian VI when once he lay 
 sick in Altona. — A watch with lapis lazuli and brilliants. — 
 Two pairs of heavy diamond ear rings. — An amber box 
 with a little portrait of Christian VI in the middle. — One of 
 agate with brilliants &c. ^- Another of jasper with rubies and 
 brilliants. — Further a multitude of seals (33) of cornelian, 
 chalcedony, rock-crystal &c. — A key of forged iron, 
 beautifully wrought, used by Christian VI himself upon the palace 
 of Christiansborg. 
 
 An example of the order »L'Union par fa it e«. 
 
 Instituted by Sophia Magdalena upon her nth wedding-day 
 Aug. 7th 1732 to shed lustre on her union with king Christian VI. 
 It was never conferred upon anyone after the death of the foun- 
 deress. The badge of the order was a white enamelled cross 
 with a gold crown in each of the four ends. Between the arms 
 of the cross were placed alternately the Norwegian lion, with the 
 curved halbard in gold, the handle white enamel, and the Branden- 
 burg eagle, likewise of gold, the wings of red enamel. On the 
 front of the cross in the centre an oval star with rose diamonds 
 and the monograms of Christian VI and Sophia Magdalena in 
 gold upon a blue enamel ground. Behind we read upon a blue 
 
85 
 
 enamelled shield: In felicissima; unionis memoriam . The order 
 was borne in a blue silk bow with a silver edge. 
 
 An enamelled badge oft he 
 order of the elephant, borne 
 by Christian VI. 
 
 In the two corner cupboards 
 in the east wall: a series of objects 
 ofembossed and gilded silver. 
 Part of which belonged to Louise, 
 the daughter of Christian VI (who 
 was married to duke Ernst of Saxe 
 Hildburghausen) whilst another part 
 has been bought in our own day 
 by Christian VIII on Serridslevgaard 
 near Horsens (Jutland). 
 
 Let us however particularly no- 
 tice in this cupboard: A large »L'Union parfaite*. 
 chalice, cup and paten &c. with 
 
 the Danish arms, the monogram of Christian \'I and the date 
 1742. Was used by the king in his last days. 
 
 The >Hirschholm goblet of silver gilt, 22 inches high, 
 which according to tradition has served as a circulating-cup at the 
 dinner table in Hirschholm, for which reason it has alwajs been 
 called Hirscholm's Welcome-. The principal part is a bowl, that 
 b>' six curvatures forms a couch for as many silver gilt cups and 
 which rests upon the head and one arm of a figure, who holds 
 in the other a cornu-copiae. Rising from the midst of the bowl 
 is a hallow tube, that supports a reservoir for wine in the form of 
 a pine-apple. Upon the tube are three taps (dolphins), by turning 
 which the wine flows from the reservoir through conduits, that 
 run between the curvatures before mentioned, and falls in a jet 
 into the cup of the guest. 
 
 In the closet in the principal wall: 
 
 A quantity of Japanese porcelain, belonging to a large 
 set that' came here under Christian VI. — Three silver cups 
 (one of which has 4 Dutch and an imperial medallion as well 
 as a Danish one in the cover, on the occasion of the birth day 
 of Frederik V). 
 
 Many glass goblets with the portraits and monograms of 
 Christian VI and his queen cut and gilded upon them. — A glass 
 wine cask. — A trowel of silver with an ebonv handle, used 
 
86 
 
 by Christian VI in laying the foundation-stone of Christiansborg 
 (It was also afterwards used in laying the foundation of the town- 
 
 hall and of St. Jo- 
 hannes Church). 
 
 Frederik IV 
 had expended 
 vast sums upon 
 changes in the 
 castle of Copen- 
 hagen, so rich in 
 memories, so as 
 to adapt it to 
 the requirements 
 of the age, but 
 a couple of years 
 afterwards all 
 must fall to gra- 
 tify the wishes of 
 Sophia Magda- 
 lena. In its place 
 arose between 
 1/33 — 40, seated 
 upon 10,000 piles 
 driven into the 
 ground, that im- 
 mense castle, 
 which took the 
 name of its new- 
 founder and was 
 to have become 
 one of the most 
 magnificent in 
 Europe, but too 
 soon fell a victim 
 to fire (Febr. 26tii 
 1794). 
 
 A pyramid- 
 shaped gold- 
 inkstand \\'ith 
 the monogram of 
 Christian VI. — 
 A tortoise- 
 shell coffer 
 
 »The Hirschholm gobleta 
 
 I 
 
87 
 
 with inlaying of gold and mother of pearl, on silver gilt feet. 
 There are 6 cut glass bottles, 2 cups, 2 spoons and a sugar-basin 
 of tortoise-shell belonging to it. — A model in silver of the 
 landing-quay at Bergen (the >/ triangle') with the triumphal arch 
 erected over it on the visit of Christian VI and his queen to that 
 town Aug. I2tii 1733, executed by a goldsmith of Bergen, Johannes 
 Miiller. — A small cabinet of silver filigree, finished with 
 extraordinary delicacy, fitted with drawers, the regalia &c., by the 
 same artist. — Many objects of silver- gilt (a can, cups &c.) 
 ornamented by delicately executed drawings in enamel. — A rich 
 collection of objects in amber, many of them of considerable 
 size and others of beautiful and artistic work; as regards the last, 
 notice above all a small man-of-war, four inches long and four 
 and a half inches high. It is an exact model of the ship of the 
 line >Anna Sophia ; the artists name was Dietrich de Thura. 
 With regard to work and material this belongs to the most ex- 
 cellent of its kind. 
 
 Christian VI died August 6'^- 1746. 
 
 The time of Frederik V (1746—1766). 
 
 Scarcely were the eyes of king Christian VI closed before 
 the whole uncomfortable and oppressive feeling, which as a night- 
 mare had weighed upon the minds of the people, dispersed like 
 mist. Never has Denmark seen upon its throne a more sociable 
 king and queen than Frederik V and Louise (daughter of George II 
 of England, born 1724). The oppressive barrier, that until now 
 had separated king and people, was cast down, the gaiety and 
 amusements of the people were no longer sin, and the Dani.sh 
 language was no more too unrefined to be uttered in the highest 
 saloons. This conduct of the young princely pair won from the 
 people a rich measure of aft'ection, which showed itself on many 
 occasions, but most strikingh' in the deep sorrow, that seized 
 on every heart, high and low, on the sudden death of queen 
 Louise 175 1. 
 
 But to all this good nature and natural amiability in Frederik V 
 was united great weakness of character, and — in complete op- 
 position to his industrious father — such a distaste for all serious 
 employment, that so far as respects the government of the state 
 it was happy for the countr)-, that he had by his side such men 
 as Schulin, O. Thott Sec, but above all John Hartvig Ernest 
 Bcrnstorff (born 1712, died 1772). His sincere and most influential 
 
Frederik V 
 
89 
 
 friend Adam Gotlob Moltke (to whom in 1750 he presented 
 Bregentved as a count's estate) sought early and late to avert 
 from the king personally the unfortunate consequences of his 
 weak character, but unhappaly not always with success. 
 
 Shortly after the death of his first queen he married Juliana 
 Maria of Brunswick (born 1729, died 1796). — 
 
 The objects from the time of this king are now found in one 
 of the rooms that from 1 781 to 1868 was used as a cabinet of 
 coins, namely 
 
 tJie south-east conii'r-roo)n. 
 
 This is reached by a passage that runs from the Rose* 
 along the east side; it has a flagged floor and the walls are 
 covered with woven tapestry, that dates from about the beginning 
 of the last century. Here we find portraits of Ernst duke of 
 Saxe-Hildburghausen and his consort Louise, sister of Frederik V; 
 princess Charlotta Amalia, daughter of Frederik IV; princess Sophia 
 Carolina of East Friesland; the Norwegian poet Tullin; the two 
 curators of the art-chamber Morell and L. Spengler; the Dani.sh 
 painter Wahl and the Swedish painter Pile; the court-architect 
 Laurits Thura; the sculptor Wiedewelt; the statesmen Ivar Rosen- 
 krants and Holstein Lethraborg; the courtfool< Kyhl and the 
 Norwegian Drackenberg (born 1626, died 1772). — P'urther a 
 bronzed g>'psum bust of Frederik V and two marble busts: the 
 one Countess Schulin (by an Italian artist Cavaceppi, an admirably 
 executed and intellectually conceived work) the other, Bernstorfif, 
 b>' Wiedewelt. 
 
 Frederik V"s room is covered with tapestr}' of red plush 
 flowers upon a yellow silkground; the red colour prevails in the 
 decoration of the walls; the floor is of parquetted oak, the ceiling 
 panelled and painted white and gold. 
 
 Of the pictures hung here the most striking are: A large 
 portrait of Frederik V; 6 smaller ones of the king, amongst them 
 two allegorical. One of these represents the genius of painting 
 calling upon Frederik V for protection; it is painted by the well 
 known court-painter Peder Als (born 1725, died 1775), who was 
 the first, who won the great gold medal of the Academy (the 
 Academy of Arts was founded by Frederik V March 31st 1754). — 
 2 portraits of queen Louise (the larger painted by Pilo). — 2 of 
 queen Juliana Maria. — A portrait of J. H. E. Bernstorfif. — The 
 hereditary prince Frederik. — Further: nine coloured crayons 
 representing uniforms from 1757. — A margrave of Baireuth; 
 
90 
 
 general count St. Germain; a miniature of privy-councillor Otto 
 Thott; privy-councillor Hjelmstjerne; the same at i8 years of age; 
 BoUe Villum Luxdorf and wife. A number of miniatures (33 col- 
 lected under glass within two principal frames). — Lastly remark 
 here three busts: Frederik V (in burnt clay); the hereditary prince 
 Frederik (in gypsum), and count Adam Gotlob Moltke (in delf). 
 
 Of the furniture notice: A sofa and many armchairs, gilded 
 and covered with bluish grey silk,- that is decorated with rich 
 embroidery in silk. — Before the sofa is a writing-table of gilded 
 wood with a dark grey marble slab, said to have been used by 
 queen Carolina Mathilde. — Three cabinets ornamented with 
 gilding and plate glass &c. — A square mirror set in an amber 
 frame. — A chandelier of amber executed by L. Spengler, after 
 a design by M. Tuscher (who died 175 1). 
 
 A timepiece whose chief material is ivory, in the excessive 
 decoration of which is employed ebony, gilded metal, crystal &c. 
 This piece, that bears the form of a temple in its principal 
 characteristic, is a perfect expression of the taste of that time: 
 the same mixture of motive, brought from the antique and the 
 rococo, which we meet over all — Corinthian columns, that bound 
 flats, which are burdened with modern ornaments in raised gilded 
 work: fruits, the attributs of painting, angels' heads, shells, mussel- 
 shells ad infinitum. — In spite of this, like some other similar 
 productions of this period, it is undoubtedly not without a certain 
 striking effect; nevertheless such an unnatural and unmeaning 
 blending of different styles must at lenght lead to an opposition, 
 which, as we shall soon see, in its zeal for right, led to the very 
 opposite extreme. 
 
 In the wardrobe: Two dresses, many weapons &c. 
 
 1, the bridal dress of Frederik V (1743), coat, waistcoat, 
 trowsers (of a white material, inwoven with silver and a rich gold 
 embroidery) and gold embroidered stockings perfect in themselves 
 and well preserved. 
 
 2, A coat of crimson cloth with richly folded skirts, 
 immense cuffs and pouch-pockets upon the sides. It is trimmed 
 with a garniture of broad heavy gold galoon upon the seams, 
 pockets, cuffs and between the folds of the skirts. The waistcoat 
 is of white figured silk and likewise edged with goldgaloon. 
 Frederik V wore this dress once in 1750, when he was present 
 at the proof of a newly invented cannon in Amager. Through a 
 want of care two barrels of gun powder took fire and with 62 
 bombs blew up into the air. As we can imagine this did not 
 
A timepiece. 
 
92 
 
 take place without death and destruction, and the Hfe of the king 
 was in the most obvious peril, from which he was only preserved 
 
 by the boldness and presence of 
 mind of four cadets. The joy 
 of the metropolis at the preser- 
 vation of their king was indiscri- 
 bable. As a remembrance of 
 this day the dress, he had worn, 
 was laid by and preserved. 
 
 Two swords with gilded 
 hilts. — Many fire-arms, 
 amongst which a brace of 
 magnificent pistols about 
 3 quarters long. 
 
 The barrels are covered with 
 gold in embossed work, the stocks 
 carved and decorated with heavy, 
 engraved gold mountings. The 
 work of the famous armourer and 
 gunsmith Valentin Mar of Copen- 
 hagen and presented to the king 
 as a coronation gift by the citi- 
 zens of the metropolis. 
 
 A walking stick (crutch) 
 used by Frederik V while con- 
 valescent once, when he had 
 broken his leg. 
 
 In three cabinets : Artistically 
 turned and carved work in 
 ivory. 
 
 Of this extraordinary rich col- 
 lection: decoration-pieces, groups, 
 goblets &c. about half are exe- 
 cuted by Lorents Spengler (born 
 in Switzerland 1720, died in Co- 
 penhagen 1808) who was the 
 teacher of the royal family in 
 the art of turning. That the 
 practice of this art has been a 
 fashion at the Danish court can 
 be seen , amongst other indications, by this, that Frederik V upon 
 his birth days (March 31st) was usually gladdened by the surprise 
 
 A pistol with gold mountings. 
 
93 
 
 of a work executed by one of the princel)' family alone. Of the 
 works of Spengler preserved here we should distinguish two as 
 interesting for the history of the time, namely one, that regards 
 the hundred years jubilee of the absolute power 1760: cowert 
 within a portal, the bust of Frederik V, upon both sides pillars, 
 between which allegorical figures; above two medals with the 
 portrait of Frederik V &c. ; over the whole the Norwegian escut- 
 cheon. It is a little work with a tasteful (but naturally regarded 
 as a rococo object) employment of the different materials: ivory, 
 ebony, tortoiseshell &c. — and a second work presented to 
 Frederik V 1761 on the occasion of the abolition of hunting 
 with hounds; it is a Diana (12 inches high) who holds a dog in 
 a fine ivory chain &c. 
 
 Of the princely works we distinguish amongst others man>- 
 of queen Louise's (a little spinning-wheel, i an inch high, standing 
 upon an open work pedestal of ivory and ebony. Two small 
 chandeliers of ivory; a > snail-trap ' and a Chinese temple, also 
 ivory); of queen Juliana Maria (a round temple of ivor)'); of the 
 princes William and Carl of Hesse (many goblets) &c. 
 
 By the balcony- window : 
 A little carriage drawn by four brown horses in which sits 
 a court-lady. Executed by D. de Thura 1749. 
 
 In the closet to the right: 
 
 A collection of excellent glasswork, amongst which 
 6 goblets, many of them adorned by carving (the monograms of 
 Frederik V and queen Louise, the Danish arms &c.) executed in 
 Norway; a glascup with a cover with the name of Frederik -V 
 and the arms of the Danish provinces in carving and gilding. — 
 A gold coffee set, a present to Frederik V from count Moltke, 
 of whom we have before spoken; they are distinguished by beauty 
 of form and a particularly ta.steful engraving of the ornaments; 
 they are Copenhagen work. — A wery large and clear Bohe- 
 mian to pas, on which is cut the bust of Frederik \'. This 
 excellent work is from the hand of the renowned lapidary and 
 medallist Joh. Lor. Natter, born in Biberach 1705, died in Peters- 
 burg 1763. Christian VI invited him to Denmark and he executed 
 many remarkable works for this king; in 1762 he went to Russia. 
 
 A sun-dial with a calendarium pcrpctuum . 
 
 All the ornaments on this piece bear allusion to events, which 
 had taken place in the house of Oldenburg; it was designed and 
 executed by a goldsmith of Copenhagen called Holm and presented 
 
94 
 
 by him to Frederik V on the occasion of the 300 years festival 
 of the royal house (1748). 
 
 A magnificent badge of the order of the elephant, set 
 with diamonds, rubies and sapphires and the monogram of Frederik V 
 in brilliants. As far as regards the cutting of the stones this is 
 a little chef d'oevre. 
 
 A Russian order of St. Andrew in brilliants. According 
 to tradition Catharina II "sent this to Frederik V after the death 
 of the Czar Peter III in 1762, who was the deadly enemy of 
 Denmark, as a proof of her desire that peace and friendship 
 should reign again between the two lands. 
 
 Two bowls in blue enamel and gilded with covers and 
 plates of silver. On the one of these there is 25 portraits of the 
 ducal family in Brunswick, cut in elaolite by the engraver Bauert, 
 and upon the other 29 copies of antiques in bisquit-paste. 
 
 A large collection (88 in number) of precious stones, 
 crystals &c., set in rings, collected by Frederik V. — A collection 
 (13) of seals of crystal, cornelian &c., some of which are set in 
 gold, others on the contrary without any setting; they are ad- 
 mirably carved. — .2 small busts of Frederik V and Juliana 
 Maria. — A gold watch on the face of which in a circle round 
 it are the 12 Oldenborg kings Christian I — Frederik V. — Another 
 with open work behind, through which is seen a ground of agate 
 (it has belonged to Jul. Maria). — A smooth silver watch with the 
 portrait of a lady upon the face. — Two gilded cases, one en- 
 graved, the other in addition has open work. — 3 enamelled do., 
 with the portrait of Juliana Maria on two and that of Frederik V 
 on* the third. — An ivory tablet in a case, on one side of 
 which is the portrait of Juliana Maria on the other that of the 
 crown-prince Frederik, with a dedicatory inscription written in her 
 own hand from Juliana Maria (to Guldberg). Two engraved gold 
 boxes with blue enamelled lids, on which is the portrait of queen 
 Louise. — A gold box with a lid of mother of pearl, on which 
 is carved a medallion with the first 12 Oldenborg monarchs. — 
 Another the lid of which is of Icelandic obsidian, whereon is 
 carved the portrait of Frederik V. — An amber box carved in 
 relievo (on the lid are the escutcheons of Denmark and England &c.). 
 — A round enamelled gold box; upon the lid -the doves of the 
 Capitoline« (presented to Jul. Maria by Catharina II, who had 
 herself used it). — A round ivory box with a transparent impres- 
 sion of a ducat in amber on the lid; turned by Frederik V. — 
 2 enamelled gold boxes with the portraits of the two sons of 
 
95 
 
 Frcdcrik V inside the lids &c. — 3 plain gold rings, two of 
 which were the wedding rings of Frederik V and Juliana Maria; 
 in the third we read: >Der Herr hat alles wohl gcmacht 18 April 
 1763. — A gold ring, upon the blue ground of the collet under 
 glass the monogram of Juliana Maria. — Another with the mono- 
 gram of Catharina II upon the collet. — Another with the portrait 
 of Frederik V. — A quantity of Saxon porcelain. — 7 pieces 
 of the oldest Danish porcelain: 3 bowls, in part with lids, 
 and 4 small mugs with covers; the colour of some is green, of 
 others blue. 
 
 These interesting pieces date from the time of Frenchman 
 Fournier. This man, as is well known, founded in the reign of 
 Frederik V, a porcelain factory by -Blaataarn ; it had not however 
 any long existence, since the undertaking, as he conducted, required 
 from the state by far too large and inordinate contributions. Ho- 
 wever, as can be seen from the last mentioned articles, the manu- 
 factory produced very excellent object during the few years it 
 existed, which was certainly owing as much to the admirable 
 assistance he received from the skilful artists Ruch, Seipsius and 
 Gylding, all painters. 
 
 Amongst the works of the last named artist from Fourniers 
 time we see to left a finely executed porcelain painting: In the 
 midst Christ, who with bound hands is led before Pilate, surrounded 
 by the apostles. 
 
 How zealous of his honour this artist must have been, is 
 shown by the tradition of his death, which is said to have been 
 caused by sorrow at the springing, in the burning of a plate, on 
 which was painted in enamel a picture of Frederik V as the 
 patron of arts and sciences. 
 
 Frederik V died Jan. 14th 1766. 
 
 From the time of Christian VII (1766—1808). 
 
 In the year when Christian VII ascended the throne, being 
 17 years old, he married the princess Carolina Mathilde, the sister 
 of George III, king of England. During a journey, he made 
 abroad in 1768, he made acquaintance with Joh. Friedrich Struensee, 
 whom he constituted his private physician and who in a short time 
 succeeded in winning his highest favour. After his return to Den- 
 mark Struen.see rose from one post of honour to another, and 
 having also succeeded in gaining the affection of the young queen 
 and when by degrees the king, debilitated by early dissipation, 
 
I 
 
 Christian VII. 
 
 i 
 
97 
 
 became infirm of intellect, he stood alone at the helm of state 
 with, one can say, the whole sovereign power in his own hand. 
 Sorrowfully and abruptly was this dominion ended by the deca- 
 pitation of himself and his friend Brandt, the diverse of the queen 
 and her consequent exile, where in the course of a few years she 
 died in Celle (Maj lOt'i 1775). 
 
 Struensee's ministry^ was succeeded by that of Guldberg, which 
 in opposition to it was animated by a warm feeling of Danish 
 nationality, but in many directions wanted its free spirit, and it 
 had in particular no eye for that great and vital question for 
 Denmark: the freedom of the peasantr>'. This great act was 
 reserved for the successor of Guldberg's ministr>' (the younger 
 Bernstorff and his noble assistants) who was interpreter for the 
 young warm-hearted prince, who in 1784 seized the helm of the 
 state himself and held it uninterruptedly in his hand for 55 years, 
 although in 1808 he was first called Frederik VI. Commerce 
 flourished (particularly during the American war of freedom), and 
 from this flowed wealth and prosperit)', the freedom of peasantry' &c. 
 All these circumstances made a great portion of Christian Mis 
 reign a period of happiness for Denmark — then came the French 
 revolution, that inaugurated a new period with storms: the bright 
 and quiet days preceding it were but the calm of the ocean, that 
 precedes the tempest. 
 
 We shall make acquaintance with the period of Christian \'II 
 by the side of the room of Frederik V in 
 
 the south-zi'cst corner-room, 
 
 which is decorated exactl)' as the foregoing, with the exception 
 of the floor, that is painted grey. 
 
 Upon the walls we see: 6 portraits of Christian VII (3 of 
 which are painted by Jens Juel, born 1745, died 1801; the largest 
 represents the king in his coronation robes with the regalia). — 
 7 portraits of queen Carolina Mathilda. — The queen dowager 
 Juliana Maria. — The hereditary prince Frederik. — 3 portraits 
 of the crown-prince Frederik (2 as a child). — 2 portraits of 
 princess Louise Augusta (the one as a child). — 3 portraits of 
 Struensee. — Count Enevold Brandt. — General Eickstedt. — 
 Andreas Peter Bernstorff. — 13 small miniatures viz: the kings 
 of the house of Oldenborg to Christian VII (collected within one 
 frame under glass upon a yellow ground). — A miniature half- 
 length portrait of the hereditar)- prince Frederik, painted by Hoier. 
 
— 15 miniatures (collected in one frame) namely: Christian VII (6) ; 
 Carolina Mathilda (2); Juliana Maria; Louise Augusta (2); the 
 hereditary prince Frederik; the crown-prince Frederik (2) &c. — 
 Still further 2 drawings by Captain W. Haffner »An evening party 
 at the court in Christiansborg palace 1781 «, which contains a 
 number of portraits: the royal family, the minister Guldberg, the 
 foreign ambassadors &c. — A marble bust of A. P. Bernstorff by 
 Dajon (born 1748, died 1824). — A gypsum bust of Juliana Maria. 
 
 — A metal bust (black with gold) of the afterwards king Frederik VI 
 as a child. 
 
 In the bay window: 
 A large timepiece ornamented with painting, gilding, cut 
 glass &c. — A cane walking-stick with a gold top, on which 
 is engraved the name of Struensee. 
 
 Under the ceihng: 
 
 A clock in form of a gilded birdcage: the dial is turned 
 downwards. 
 
 Upon one of the tables: 
 
 An artistic work in ivory, 36 inches high, executed in 
 1782 by the ivory-turner J, C. Opitz. (Under a pyramid-shaped 
 glass shade.) 
 
 The furniture here consists of tables (3), chairs, mirrors, 
 sconces Sic, in which the straight lines begin to be prominent, 
 and presents a very interesting contribution to the knowledge of 
 the chief characteristic of the style, that prevailed towards the 
 period of the great French revolution (the substitute for the deca- 
 dence), — or, as we may say: of the struggle for the reintroduc- 
 tion of the antique simplicity. 
 
 In the closet between the windows: 
 
 A quantity of porcelain, belonging to the » flora danica 
 set (of which more hereafter). — Many objects in glass: decan- 
 ters, glasses, goblets. Amongst the last a goblet on the occasion 
 of the marriage of Christian VII and Carolina Mathilda; of which 
 a little Cupid informs os, by the act of scratching with his arrow 
 under the crowned monogram of the bridal pair, engraved in the 
 glass, the following: »Felici sidere juncti MDCCLXVI d. 84 (i. e. 
 November). On the other side are the Danish and English escut- 
 cheons. The cover terminates in a crown with 6 curvatures. The 
 whole is 3 quarters high. 
 
 We notice further in this closet: A porcelain statuette of 
 Christinn VII. The king is dressed in the Imperial robes, and 
 
i 
 
 
 A "obltt of Christian VII aiul Carolina M uiuliia. 
 
 7* 
 
lOO 
 
 leans against a chronological tree of the house of Oldenborg, on 
 which are the portraits of the kings of that house, 
 hi the closet by the entrance-door: 
 
 The coronation dress of Christian VII, namely the dress of a 
 Spanish cavalier of a white material with gold, ornamented with 
 heavy gold lace. — A hunting uniform: blue cloth coat, edged 
 with broad silver and gold galoon, a red cloth waistcoat and 
 knee-breeches together with a hat, a riding whip and a silver 
 mounted hunting knife with an ebony hilt. A present from Louis XV 
 to Christian VII during his stay in Paris. — The wedding dress 
 of Christian VII of silver moire, trimmed with garlands of flowers, 
 formed of spangles and gold foil. The embroidery upon the 
 sleeve-facings and the waistcoat consists of lines crossing each 
 other with a little ornament in each square, all of gold. — With 
 the dress last named a gala sword with the hilt of gold, richly 
 set with diamonds, which, on an opaque ground, arrange them- 
 selves in bouquets and garlands. — A sword with a silver gilt 
 sheath, finished upon Frederiksvaerk. 
 In the window to the left: 
 
 The diploma of Christian VII as Doctor, from the universities 
 of Oxford and Cambridge together with his letters of freedom as 
 a citizen of London and member of the corporation of goldsmiths 
 of that city. 
 
 In the glasscase: 
 
 The gold caskets belonging to the letters of freedom, last 
 spoken of, namely: heavy goldboxes with engraven ornaments. — 
 Rings, amongst which one with the portrait of Carolina Mathilda. 
 — A watch, that together with the broad chain, to which it is 
 attached, is set with brilliants. This extremely costly ornament, 
 which was the property of Carolina Mathilda, belongs to the 
 jewellery, that after the fall of the queen in the year 1773 was 
 transierred from Christiansborg to be preserved in Rosenborg. 
 
 2 gold watches, the one set with diamonds, the other with 
 the signet of Christian VII dependent from it. — 2 Norwegian 
 case-knifes. — A portrait in relievo of Christian VII, composed 
 with remarkable skill of diamonds splinters set in silver. 
 
 Christian VII died March 13th 1808. 
 
A gala sword of Christian VII. 
 
--m^ 
 
 Frederik XI. 
 
III. 
 
 From the French rcvuhition to our own times. 
 
 From the time of Frederik VI (1808—1839). 
 
 J\s already alluded to, Frederik VI had for 24 years — 
 since 1784 — been in realty the veritable ruler of the kingdoms 
 of Denmark and Norway when his father died, and the interior 
 social progress as well as the general prosperity and welfare, that 
 mark the greater part of these years, are therefore essentially 
 connected with him. But the happy condition of these days came 
 to an abrupt end: the loss of the fleet (in 1807), the separation 
 of Norway from the monarchy (in 18 14), the money-dearth after 
 the war, and many- other things exhausted the strength of Den- 
 mark for a long time, and it was only to the close of the old 
 kings life that vitality and growth revived again in the paralysed 
 body of the state. He had himself given a powerful impulse 
 towards arousing the people to a freer development, by the intro- 
 duction in May 1831 of the raadgivende Provinsialstaender- (pro- 
 vincial assemblies, who had the privilege of debating upon the laws). 
 
 In joy as in sorrow, in prosperity as in misfortune Frederik VI 
 was one with the ©anish people, and when he died, their sorrow 
 was deep and heartfelt; the peasants bore him to the g^ave and 
 the beautiful funeral songs, sung for him, will bear his memory 
 far down the streame of time to other generations. His queen 
 was Maria Sophia Frederikka (princess of Hesse-Cassel), born 1767. 
 died March 21st 1852. 
 
 Already a long time before the revolution towards the end 
 of the 1 8th centur>' burst dut. the war against the >wigs: had 
 begun in France. The new doctrine of forsaking all artifical 
 modes end returning to the simplicity of nature (Rousseau) had 
 
I04 
 
 penetrated farther and farther, and as at the same time, by the 
 many discoveries in the newly rediscovered cities of Pompeii and 
 Herculanum, the interest in the antique was reawakened by the 
 increased acquaintance with it, so they found in its forms the 
 expression of what they sought. The new taste was carried upon 
 the wild stream of the revolution around the world, and the first 
 French empire disposed itself to give to these forms a peculiar 
 worth and gravity. Therefore it is, that the reigning style, in 
 buildings, furniture &c. , which in the beginning of this century 
 has exchanged the variegated spirals of the rococo for the simple 
 rectangular forms of the antique, has received the name of 'the 
 Imperial renaissance « . 
 
 This style first meets our eye, when from the room of 
 Christian VII we enter that of Frederik VI, which has but one 
 window i that overloaks the drilling- ground. This and the two 
 following rooms, the first of which contains principally the objects 
 from Christian VIII and the second those from Frederik VII, have 
 all under the new arrangement of the collection been painted and 
 decorated, so that each alone is a contribution to the picture of 
 the time of each king concerned. The attention is particularly 
 called to the different decorations of the ceilings. 
 
 The furniture in 
 
 the room of Frederik VI 
 
 is wholly distinguished by its extraordinary simplicity and much 
 of it adapted to illustrate the imperial style in its highest grade. 
 Notice in particular the semi-round buffet opposite the entrance 
 door and the cabinet, that stands by the end wall. 
 
 If for example we remember the cabinet before described of 
 Christian VI's time, the ressemblance in manj^ respects between 
 this and that piece of furniture will be striking. In that, spite of 
 all the absurdity and exaggeration expended upon the motive, 
 one could not do other than yield our admiration to the high 
 degree of industry and skill, that was displayed in all, even in the 
 execution of the most insignificant parts — here: the artificial is 
 certainly most distant and simplicity is called forth, but if w*e only 
 remark, for ex: how disproportionately the pillars are employed 
 as ornaments (do but peep within the small doors of the cabinet 
 and remark its more than economically furnished interior), we shall 
 perceive without difficulty, that this was never the course taken by 
 the antique in its endeavours after simplicity and nature. 
 
io6 
 
 A deal-desk, painted white, the leaf covered with green 
 cloth, which together with many of the objects, that stand upon 
 it (inkstand &c.), has been used by Frederik VI. 
 
 On both sides of the entrance to the room of Christian VIII: 
 Two gueridons, upon each of which a candelabrum in 
 the form of a vase stands, from which the branches (of gilded 
 metal) issue as flowers. — A small table with an oval slab of 
 metal; upon this stands a model of a ship of the line of Ii6 
 guns, fabricated by some of the Danish prisoners of war in Eng- 
 land, of bones procured at their meals. 
 
 In the window: A coffee set of Copenhagen porcelain 
 (coffee pot, four cups and saucers &c.) white and gold; they have 
 belonged to Frederik VI. 
 
 Upon the buffet: A silver goblet with a cover. It bears 
 the coins of the Swedish minister Gortz (after the death of 
 Charles XII) and an inscription in reference to the campagn i 
 Sweden in 1788. 
 
 Portraits: 
 
 A large picture, containing the portraits of Frederik VI and 
 queen Maria with their two daugthers (by Eckersberg). — 7 por- 
 traits of Frederik VI of different sizes (4 painted, i in relievo in 
 ivor}', I drawn with silver pencil upon parchment (by Greger) an 
 I a medallion portrait in drawing). — His bronzed gypsum bust; 
 his equestrian statuette in ivory upon a tortoiseshell pedestal. — 
 3 portraits of queen Maria (the one by Juel). — The princess 
 Sophia Frederikka (the mother of Christian VIII). — Christian VIII 
 as prince. — A gypsum bust of princess Carolina Amalia. — The 
 hereditary prince Ferdinand. His wife, the hereditary princess 
 Carolina. — Princess Louisa Augusta (PVederik VI's sister), a full 
 sized portrait. — Frederik VI and queen Maria driving to the 
 theatre by torch-light. 
 
 Abowe the wardrobe: A quantity of porcelain belonging 
 in part to the flora danica set. 
 
 Weapons: A little foil, used by Frederik VI as a boy; an 
 infantry musket with a bayonet (his drill weapon as a young 
 prince); 2 pistols; a Turkish sword with a red velvet scab- 
 bard &c. 
 
 In the wardrobe: Dresses: Man}' uniforms, amongst which 
 the regimentals of Frederik VI with the badge of honour of a 
 Dannebrog s-man fastened upon the coat. — The coronation robes 
 
I07 
 
 of Frederik VI. — The robes of the orders of the elephant and 
 the garter, belonging to Frederik VI, &c. 
 
 The Dannebrog order, to which we have alluded above, was 
 renewed by Christian V (the day after his son's birth October 
 1 2th 167 1), but nevertheless its first creation dates back to the 
 days of Valdemar >;Seir« (the victorious) and the renowned Volmer- 
 battle (12 19) in which ^^the Dannebrcfg' (the national standard of 
 Denmark) fell down from heaven. The 35 heroes, on whom after 
 the battle the king conferred knighthood under the shadow of the 
 newly-fallen banner of the cross, are regarded as the first knights 
 of the Dannebroge. Christian V, as we have said, renewed the 
 order, when in honour of the birth of the crown-prince he named 
 19 knights. The statutes, given by him, are dated December i>t 
 1693. According to these there was onl)- one grade (^the white 
 knight «), the order could be conferred only upon the nobility, and 
 was so restricted, that its numbers could not at any one time 
 surpass 50. Frederik VI Juni 28th 1808 changed the order, en- 
 creasing the grades to four (grand commander, grand cross, com- 
 mander and knight) and extending the admission to commoners. 
 At the same time he instituted the silver cross, i. e. the badge of 
 the Danncbrog's-men, which can be bestowed upon those also, 
 who are already received in one or other of the grades of the 
 parent order, equally with others. Under Frederik VII the grade 
 of commander was still furthei extended and divided into two 
 grades, the ist and 21^'. 
 
 The room of Christian VIII 
 
 contains still from the tiijie of Frederik VI : much furniture; sofa, 
 chairs (white and gold, with covers of green silk); a large round 
 deal-table, very simple, used by Frederik VI for his privy-council 
 table. — In the glasscase upon it: his diploma as a knight of the 
 garter (1822) with the statutes and the seal, appending in a gilded 
 capsule. — The silver travelling-watch of Frederik VI. — A pedo- 
 meter (used when exercising). — The decorations of a number of 
 foreign orders. 
 
 Amongst these 3, that no longer exist: the French order of 
 the Holy Ghost; the Dutch order of Union (Louis Bonaparte) and 
 the Westphalian Crown order (Jerome Bonaparte); these on the 
 death of the king could not be returned, since the respective 
 d>nasties, by whom they were bestowed, had ceased to exist. 
 
 Frederik VI died December 3^^ 1839. 
 
io8 
 
 From the time of Christian VIII (1839—1848). 
 
 King Christian VIII, born Sept. i8th 1786, was married to 
 his first wife Charlotta Frederikka of Mecklenburgh-Schwerin Juni 
 2 1 St 1806, from whom he was separated 1809. On the 22nd May 
 181 5 he was the second time married with the present queen 
 dowager Carolina Amalia, daughter of duke Frederik Christian of 
 Augustenborg. 
 
 The principal interest to note in the furniture in Christian VIII's 
 room is the difference in the material from that of the foregoing 
 periods, the gilded wood having now given place to mahogny. 
 For the rest is most prominent: 
 
 Upon the walls: the portraits: 
 Christian VIII (3). Queen Carolina Amalia (3). The grand- 
 duke Friederich Franz of Mecklenburg Schwerin (died 1837). His 
 consort Louise (died 1808). The princess Wilhelmina (the present 
 duchess of Gliicksburg). The landgrave William of Hesse Cassel 
 (the father of our present queen, born 1787, died 1867). Frederik VI 
 lying in state. 2 paintings and 2 drawings (by Gertner), represen- 
 ting the anointment and coronation of Christian VIII and Carolina 
 Amalia in the chapel of Frederiksborg castle Juny 28th 1840. 
 Christian VIII lying in state and castrum doloris. The sculptor 
 Thorvaldsen and the poets Oehlenschlager and Ingemann. The 
 natural philosopher H. C. Orsted. 
 
 On the table under the four last: 
 The magnificent drinking-horn of gold, richly ornamented with 
 precious stones and allegorical figures in' embossed and engraved 
 work, presented to the poet Ingemann by the Danish ladies on 
 the occasion of the feast, in celebration of his 70tli birth day in 
 Sor0, May 28* 1859. 
 
 In the closet remark: 
 
 Dresses: the magnificent coronation dress of Christian VIII. — 
 A dress of red velvet, worn by the king at the opening of the 
 High Court of Justice. — The robes of the order of the elephant. 
 — Many uniforms &c. 
 
 Before the constitution of Juny 51^ 1849 the monarch himself 
 was by right the president in the .supreme court, and as such 
 presided at the opening of the court until 1848 on the first monday 
 in every month of March. 
 
Christian VIII. 
 
I lO 
 
 Still further we find on the base of the closet amongst other 
 things : 
 
 Some models for muskets. — A carved wooden jug with a 
 lid (presented to Christian Frederik (Christian VIII) during his 
 recidence in Norway as elected king 1814). An ivory bust of 
 Christian VIII. — A goblet and a box with cover, of ivory; the 
 last named objects are works of the present school of art in Den- 
 mark as well as some small plastic works, the figures of animals 
 in ivory &c. upon two of the tables. 
 
 Lastly we find in the glass-case: 
 
 A chamberlain's key, with the monogram of Christian Frederik 
 — the later Christian VIII — (from the period of his residence 
 in Norway as elected king 18 14). — A couple of foreign orders, 
 born by Christian VIII. — A gilded hammer, used by Christian VIII 
 at the presentation of new colours to the army to strike the nails 
 in the staffs. The diploma of Christian VIII as Dr. juris from the 
 university of Oxford in a gold capsule. — His own gold watch 
 and two gold watches with enamelled portraits (at the back of 
 one Christian VIII's and on the other that of the crown-princess 
 Carolina Mariana). — A couple of favourite porcelain cups, gilded, 
 with the names Charlotta and Frederik (his first consort and their 
 son). — The medicine spoon he used upon his death-bed. 
 
 Christian VIII died Jan. 20* 1848. 
 
 From Christian VIII's we enter lastly into 
 
 tJie room of Frederik VII, 
 
 which is lighted from a single window and decorated in the 
 »Frederiksborg-style , which as is well known was much favoured 
 by Frederik VII and his contemporaines. 
 
 From the time of Frederik VII (1848—1863). 
 
 King Frederik VII, born October 6th 1808, was three times 
 married, first with the princess Wilhelmina, daughter of PVederik VI, 
 next with Carolina Mariana of Mecklenburg-Strelitz, both these 
 marriages ended in diverse. In 1850 he contracted a morganatic 
 marriage with countess Danner. — On the 5th of Juny 1849 he 
 from the plenitude of his sovereign power gratuitously gave to 
 his people a free constitution based on fundamental law. 
 
Fredcrik VII. 
 
112 
 
 Upon the walls: 
 Many portraits of Frederik VII as a child and youth (amongst 
 the first an excellent one by Greger). — A painting by A. Melby: 
 Danish men-of-war , the ship of the line » Christian VIII « , the cor- 
 vette » Flora « and the brig »Allart«, saluting for the princess 
 Carolina Charlotta Mariana, that was brought by the steamer 
 »Kiel« to the landing quay by Holmen's church Juni 22n<^l 1841.— 
 Two paintings of the procession on the castle square. — A large 
 portrait of Frederik VII as king (in admiral's dress, by Gertner), — 
 A relief portrait of the same king in terra cotta (modelled by the 
 medalist Conradsen). — 2 small portraits in relief of him and his 
 consort Mariana, in ivory. — Over the exit door hangs an old 
 picture of Frederiksborg. 
 
 Of the furniture we remark particularly: 
 The writing-table of the king; on which rest his writing 
 materials of gilded metal, amongst which is the pen, he used 
 Juny 5tli 1849 to sign the free constitution of Denmark. 
 
 Upon the cabinet: 
 Two large vases of Sevres china, presented to the king 
 the year before his death by the emperor Napoleon III, and two 
 vases in biscuit (i/i inches high) presented to the collection 
 by Charles XV, king of Sweden and Norway, from the manufactory 
 of Gustafsberg near Stockholm. — Between these the bust of 
 the king Frederik VII in biscuit, executed in the porcelain 
 factory of the brothers Bing after a model by Bissen. — Behind 
 the bust a couple of the king's swords and other weapons. 
 
 In the cabinet: 
 A series of dresses: the Danish and Swedish hussar uniforms 
 of Frederik VII, ornamented with the orders of the three Northern 
 countries; his uniforms as admiral and general; his aluminium's helmet; 
 his robes of the order of the elephant; the crimson gold embroidered 
 fez, used by the king (for ex. in the theatre and at home) &c. — 
 A beautifully finished admiral's rapier, given to Frederik VII by 
 his father, the work of the Danish jeweller Rudolfi, who resided 
 in Paris. — The speaking-trumpet, used by the king on board 
 ship. — A cabin bell-rope (a silver chain with a crystal hand 
 piece), used on board the king's steam yacht »Falken« and which 
 originally belonged to Tordenskjold. — The masonic order of the 
 king. — A large cut glass goblet. — A painted cup and saucer 
 of Copenhagen porcelain (used in travelling). — The silver table- 
 bell of Frederik VII (according to tradition it has formerly been 
 
113 
 
 used by many queens, the last of which was Carolina Mathilda). — 
 A number of tobacco-pipes, ordinarely used by him. — A multi- 
 tude of shooting-badges, worn by Frederik VII as member of 
 different shooting-clubs. 
 
 Finely upon the wall we further notice: 
 The insignia of many of F"rederik VII's foreign orders. 
 
 In the window : 
 A model of his yacht P'alken«. 
 Frederik VII died November I5tl> 1863. 
 
 Our progress through the strictly chronological collection being 
 now fully ended we ascend the spiral staircase — again past a 
 series of historical portraits: Hans Gram (the celebrated and learned 
 historian, really the founder of the Danish Scientific Society &c., 
 born 1685, died 1748), Luxdorf (a renowned jurist and philosopher, 
 born 1 7 16, died 1788) and many others — up the third stor>', and 
 enter the room, that king Frederik IV in the first quarter of the 
 last century so magnificently fitted up. 
 
 The knight" s-Jiall. 
 
 This hall, which extends over the entire length and breadth 
 of the palace, is 150 feet long, including the bay-windows in the 
 end-wall, its breadth is 28 and the height about 19 feet. Its 
 present fitting-up as we have said dates from Frederik IV, all that 
 remains from Christian IV being two marble chimne}'-pieces at the 
 ends of the hall (the northern behind the drapery of the throne). 
 
 The arched roof rests upon .stucco-cornices, that are marbled 
 by Charles Bracht and which run along the four sides of the hall. 
 It is ornamented with rich' and beautiful relief in stucco. In the 
 middle is seen the Danish escutcheon (painted in its heraldic 
 colours, whilst the rest of the work in relief is unpainted); on both 
 sides of the concavity under the escutcheon is a lion, which genii 
 are crowning and which rests in a festooned field; upon the centre 
 line of the ceiling (right and left of the escutcheon) are four large 
 paintings by Heinrich Krock, representing the four emblems of 
 royalty: towards the north the sword and globe , to the south 
 the crown and scepter*, all borne by genii and allegorical figures. 
 These pictures have rich stucco mountings of entwined roses, lilies, 
 laurel and oak leaves and are united by magnificent compartments, 
 which on each side of the cur\ing spreads out into a royal mantle, 
 suspended upon the trunk of an elephant; the upper corners of 
 
 S 
 
this mantle are lifted by genii and it forms the back ground ot 
 a shield with the crowned monogram of Frederik IV and two 
 recumbent lions as shield-bearers. On both sides of the arched 
 ceiling we see four large representations in relievo of important 
 acts of the government under F'rederik IV: that on the south- 
 easterly side: the abolition of villanage, opposite, the insti- 
 tution of the land-militia; on the north-easterly side the 
 institution of the dragoons, and opposite the enrollment 
 of the seamen. Upon the mantel-piece on each side of the 
 throne-canopy and of the chimney-piece on the opposite end-wall 
 we see four allegorical figures of the four quarters of the earth, 
 Europa, America, Asia and Africa; behind them are the four 
 principal winds. — The ^vhole of this work, taken in connection 
 with its time, ma}' in many respects challenge its equal in beauty. 
 The floor is painted in marble squares and the decoration of 
 the walls is a marbling of strong mixed colours round a series of 
 large historical hautelisse-tapestrie.s, uniting the whole into a highly 
 characteristic picture. Over the entrance-door we see the portrait 
 of Frederik IV in gypsum; straight opposite above the entrance 
 to the room of the Regalia the portrait of Christian V in marble; 
 both these relief-pictures are surrounded by a rich ornamentation 
 of white painted wood and stucco. The tapestry, which was 
 executed in Christian V's time at Kjege by the Dutch brothers 
 van der Eicken after the designs of the Danish painte^- Peter 
 Andersen, gives a series of battle-pieces, by sea and land, from 
 the war in Scania (with many veritable portraits). The seafights 
 in particular are most effectively executed, and as regards the 
 study of the dress of that period and the build of the .ships &c. 
 these tapestries are invaluable. They are 12 in number, each 
 12 feet in height, whilst the breadth varies from 10 to 22 feet. 
 The subjects represented are: 
 
 1, The taking of Wismar 13^11 December 1675 
 
 2, The capture of Landscrona castle 4^^ Aug. 1676. 
 
 3, The battle upon Kolbergerheide Juny i^' 1677. 
 
 4, The taking of Marstrand 23r<i July 1677. 
 
 5, The landing on Scania 29111 Juny 1676. 
 
 6, The seafight by 01and i^^t Juny 1676. 
 
 Upon the eastern wall from North to South. 
 
 1, The taking of Hel.singborg 3^'! July 1676. 
 
 2, The taking of Christiansstad 1 5th Aug. 1676. 
 
 3, The taking of Rygen ij'^^ Sept. 1677. 
 
ii6 
 
 4, The taking of Damgarten in Pommern 6* Octbr. 1675. 
 
 5, The battle in KJ0ge-bay 1st July 1677. 
 
 6, The taking of Landscrona nth Juny 1676. 
 
 Upon the western wall from South to North. 
 
 On each side of the northern fire-place is placed a high 
 mirror with frames and consoles of embossed silver, that were 
 formerly part of the fitting up of Christiansborg. Before the 
 southern fire-place, in which an iron stove has been set, with a 
 drum and the date 1721, we see a screen, also of embossed silver, 
 and two large heatreflectors (balls) of silver, that rest upon iron- 
 dogs (andirons); these date from Christian V's days. Above the 
 chimney-piece is placed a bracket, on 'which stands a bust of 
 Christian IV in white marble. Amidst the tapestry we find many 
 beautifully cut glasses in red japanned frames, ornamented with 
 silver, and along the side- walls 18 high-backed carved chairs; the 
 embroidery of the seats and back was, according to tradition, 
 sewn by Charlotta Amalia, queen dowager after Christian V, 
 together with her ladies of the bed-chamber, in the years 1699 
 and 1700, following the marks on the embroidery. 
 
 As the hall now appears after the complete restauration, that 
 it has undergone in these times and which was completed in 1869, 
 it stands before us as an excellent architectural memorial from 
 the beginning of the last century. It has however other grounds, 
 on which it presents itself to our notice, in the historical memories, 
 that are associated with it (it was the custom formerly to hold 
 all the royal festivals here, and from 1795 — 1829 the feast of 
 opening of the Supreme court as well as the solemn investiture 
 of orders were held here &c.) and impart to it a high degree of 
 interest, which is still further increased by the fact, that the 
 knight's-hall is now the depository of a number of objects, still used 
 at the coronation and other solemn occasions. These objects are: 
 The two coronation-chairs. 
 
 They are both of same hight — about 8 feet — and the 
 same form, but with a marked difference as to material and all 
 that regards the fittings up. The king's chair, which is of 
 narwhal-horn, is ornamented by 8 allegorical figures, formed of 
 metal, of which 4 sit in the interior, one by each corner of the 
 seat, 2 stand in recesses above the back supporters and 2 in a 
 recumbent position upon the canopy, whose apex terminates in 
 the globe and cross. Beneath this stand a very large square 
 crystal-spar, which on the day of coronation is replaced by an 
 
The kings coronation-chair. 
 
amethyst of the same size, preserved among the RegaHa. The 
 canopy is still further decorated by two oval Mocha-stones, which, 
 according to tradition, are the gift of an Indian prince. In front 
 upon the arm-rests are 2 gilded balls. The upper portion of 
 the arm-rests, the seat and the back are covered with gold 
 brocade. 
 
 The queen's chair is smaller than the king's; it is of wood, 
 entirely covered with thick plates of silver, in many places orna- 
 mented with gold. On the canopy 2 allegorical figures recline. 
 Piety and Benevolence, whilst between them, from the silver-gilt 
 plate, the name of Jehovah radiates in Hebrew characters. The 
 seat and back are covered with silver brocade. 
 
 The want of uniformity between the coronation chairs arises 
 from the circumstance of their having been made at different 
 periods; that of the king was finished for Christian V and the 
 queen's not until the time of Christian VI. The principal material 
 in the king's chair, the narwhal-horn, had at the time it was pro- 
 cured a value equal to its weight in silver (thus says tradition), 
 and as it is very heavy, we can judge how expensive the chair 
 must have been. This chair was first used 167 1, the queen's 
 in 1731. 
 
 The three silver lions. 
 
 They are chased and embossed with gilded manes. Being 
 exceedingl)- large they possess on that ground alone a considerable 
 value, but the mere worth of the metal vanishes before the sur- 
 passingly excellent and unrivalled importance of the work. They 
 recline before the king's throne on the day of coronation and 
 other high solemnities (the opening of the »Rigsdag- o: the 
 Parliament by the king in person) as symbols of the lions in the 
 escutcheon of Denmark. 
 
 According to recent inquiry these three lions have probably 
 been executed in Copenhagen, whilst earlier tradition intimated, 
 that they were made in Augsburg. 
 
 4 large candalabra and 12 gueridons of silver. Used on 
 solemn occasions (coronations, funerals &c,); dates from the time 
 of Frederik IV and Christian VI. 
 
 The Royal font. 
 
 It is of silver (weighing 360 oz) and 3 feet high. The breadth 
 across the dish is 2 feet and 9 inches. It is richly adorned with 
 gilding, pictures in embossed work and other ornaments: heads of 
 
119 
 
 angels, foliage &c. On the bottom of the dish we see -the Bap- 
 tism of Christ «, upon the margin there are three smaller repre- 
 sentations of scriptural subjects. At the time of the baptismal 
 solemnity within this dish is placed another of gold, ordinarily 
 preserved amongst the Regalia and of which we shall speak further. 
 Regarding the age of this font we know nothing certain. 
 It was sent to Rosenborg for preservation under Frederik IV 
 (October 2"^ 1720), and it has always been assigned to this 
 
 The Ruv.il fun 
 
 monarch's time. It ought however judging from probability to be 
 older, since much of the embossed work especially r.tnin.K u^ of 
 similar work of the time of Frederik 111. — 
 
 Till- glass-room, 
 
 that lies by the knight's- hall in the north eastern tower, was 
 arranged 1714 by I'rederik IV. Its walls are covered with green 
 
The glass-room. 
 
silk damask and here and there hung with paintings, which however 
 have worth only as decorative pictures; the panels and doors are 
 silvered and adorned with gilt fillets, and on the painted ceiling 
 a bacchanal procession is represented. From the green glass-wall 
 on each side of the entrance door a multitude of shelves spring 
 forth, arranged with great taste and art, and adorned with rich 
 gold edges and garlands of green glass leaves and different coloured 
 glass fruits. On these shelves is found an abundant collection of 
 the elder Venitian glass, which ought perhaps to be esteemed the 
 most excellent of its kind, and which but for its intelligent and 
 tasteful arrangement would be overpowering. First and foremost 
 we must in this respect point out its richess in the renowned 
 filigree- or thread - glass, which is no longer fabricated as 
 before and for this reason, should it chance to be offered for sale, 
 it can scarcely be bought for gold; next the costly ruby -glass; 
 further the imitations of the different precious stones in glass, the 
 sapphire-, emerald-, amethyst- and opal-glass &c. — That 
 which will also particularly awaken the admiration and wonder of 
 the visitors is the great variety, both in form and object, here 
 represented: table-bells, knives, forks and spoons; pots, tankards, 
 cups, flowers, bottles and drinking-glasses &c. ad infinitum. Lastly 
 we pray you to remark the extraordinary beauty of the car\ing 
 on the particular articles. 
 
 The whole of this rare and valuable collection (with the ex- 
 ception of the large covered glass goblets resting on the basement, 
 and also a couple of glasses, which are of Norwegian manufacture), 
 are from the glass and mirror manufactory, so renowned in its 
 time, that was situated on the isle of Murano near Venice, and 
 according to tradition were given b)- the doge to Frederik IV 
 during his visit there in the beginning of 1709. 
 
 The fabrication of glass, the first traces of which we must 
 look for thousands of years ago, without doubt originally dates 
 from the Eg>'ptians. Transplanted from thence to Rome in the 
 time of the emperors it was carried to Byzantine by Constantine 
 the great. About the beginning of the 14111 century it was brought 
 from thence to Venice, where it quickly rose to a height previously 
 unknown. To keep the working of the glass masses and the whole 
 artistic method of fabrication as secret as possible, the manufactory 
 was placed in Murano, where it still flourishes, and has taken new 
 expansion since the incorporation of Venice with the kingdom of 
 Italy. The Venitian glass was renowned particularly for its colours, 
 while other glass, the old German e. g. was remarkable for the 
 
122 
 
 application of enamel, engravings &c. The discoverer of the art 
 of engraving glass was a German, Caspar Lehmann (1609). 
 
 Tlie porcelain-room 
 
 lies in the south east tower by the knight's-hall and dates from 
 the present. The basis of this collection arose from the quantity 
 of costly porcelain which was scattered about the castle and con- 
 siderably added to by presents and in other ways. In this manner 
 the collection now contains in rich selection excellent specimens 
 of Japanese, Chinese, French, Saxon and Danish p.orce- 
 lain besides any Swedish articles, partly of old and partly of 
 modern date, wich, by a dark brownish back-ground, is so set off 
 that notwithstanding its abundant variety it is easy to inspect. 
 The whole is so arranged, that standing by the window jusf 
 opposite the entrance door we have upon the left side-wall the 
 Japanese-chinese department, on the wall just opposite to the left 
 of the door the French and to the right of the same the Saxon 
 departments; on the right side -wall and continuing from thence 
 upon the window -wall to the window the Danish department; and 
 lastly in the window itself the Swedish articles. Thus as we see 
 an historical thread is drawn from left to right. 
 
 The Japanese and Chinese articles date particularly from 
 the time of Christian VI; it is not a large but a rare and costly 
 collection; the time of its fabrication we have no means of ascer- 
 taining, but its antiquity is certainly very great. 
 
 The Saxon porcelain for the most part dates from Frederik V, 
 but single specimens are also found here of that brown porphyra- 
 ceous fabric of the earliest period of the Meissen porcelain now so 
 rare (Bottger — i.e. before 1709, in which year for the first time 
 he produced porcelain white and transparent). The greatest part 
 of this division has been brought here by the elder Schimmelmann; 
 it is of extreme beauty and excellence; the ground is white, clear 
 and even the gold rich and strong, and the landscapes &c. , with 
 which each article however small is adorned, are veritable master- 
 pieces of this kind. ' 
 
 The French department was brought here under Frederik V 
 and Christian VII, and belonged in part to the great service that 
 Christian VII received of Louis XV during his visit to Paris 1768. 
 It is from the renowned Sevres manufactory in the period of its 
 palmiest days. This was originally a private establishment and 
 carried on in Vincennes, from which place in 1756 it was removed 
 
123 
 
 to Sevres, and in 1760 Louis XV undertook the charge of it, and 
 conducted it with passionate ardour; it was supported and helped 
 forward in every way, so that in a short time it produced works 
 that even in the present day arc regarded as unapproachable. 
 We here e. g. particularly remark the porcelain paintings (1766): 
 how delicate and yet vigourous in form and delineation are they 
 not! The blue colour of the vases and the rest clear, deep and 
 soft. The gilding as strong and effective as if it were smelted 
 into the objects, and the flower-representations so fresh and warm. 
 
 The Danish department is also a beautiful witness of Danish 
 industry in this direction. A great part of it belongs to the 
 renowned » Flora danica« service, which is regarded as so greatly 
 significant that in the resolutions of the Chronological collection it 
 is expressly named as one of its permanent constituents. The 
 origin of this dates from the conclusion of the last century, when 
 — following tradition — it was intended for Russia in accordance 
 with an order of Catherina II, which was withdrawn by the emperor 
 Paul &c. It was bought for account of the state treasure of the 
 manufactury for 10,000 Rd. (20,000 Danish crowns) by order of 
 the prince regent, Januar 2"t' 1803, to the lord high steward Hauch. 
 It has a white colour of a rare purity and clearness and each 
 separate piece is adorned with a different example of the Flora 
 of Denmark. The pictures are executed b)' skilful artists after 
 the work » Flora danica«. — We further find in this division 
 amongst other things several characteristic vases of older times 
 and a magnificent bust in biscuit of the queen dowager Juliana 
 Maria. — All these objects are from the earliest Royal Danish 
 porcelain factory that was established after the druggist J. H. Miillcr's 
 discover)- of porcellain-clay in the neightbourhood of Ronne in the 
 isle of Bornholm (1772). It was first worked by a private company 
 of shareholders, but in 1779 the king undertook the charge of the 
 factor}' and evidently following in the track of the factor}- of 
 Meissen soon very much enlarged it. In 1868 it again became 
 private property and has been considerable increased. 
 
 (Factory marks for the elder French and Saxon porcelain: 
 I, In 1753 the French porcelain had two L's twisted together with 
 an a in the middle. Until 1777 the middle letter was continued 
 in alphabetical order, thus:. 1753a— 1754b &c. From 1777— 1793 
 the middle letter was doubled. Under the republic until 1801 the 
 letters R. F. — 2 , The early Saxon porcelain showed the three 
 letters A. R. P. (Augustus Rex Poloniae) or a rod of iCsculapius, 
 
124 
 
 or two drawn swords crossed downwards; after the time of Bottger 
 the swords are crossed upwards.) 
 
 The chamber of the Regalia, 
 
 which lies by the knight's-hall in the west-tower and is not as a 
 rule open to the public, has also in connection with the new ar- 
 rangement of the collection received an adjustment and decoration, 
 that makes it a worthy frame for the Danish Regalia. The walls 
 are hung with costly Oriental carpets, interwoven with gold, which 
 dating from Christian V's time have since been used on the 
 solemnity of the coronation. Over the door, in a frame of ebony, 
 hangs the original escutcheon of Denmark; it is of silver, i6 inches 
 high by 20 broad, and enamelled in its proper colours. The 
 ceiling is a very beautiful work in stucco, and the floor is covered 
 with black and white marble slabs. In the middle of the floor a 
 pyramid arises behind clear thick plate-glass, from the flat sides of 
 which covered with red velvet the rays of gold and precious stones 
 flash upon us, whilst the summit is adorned by a magnificent and 
 costly crown, which was used by the Danish kings after the in- 
 troduction of absolutism. The objects, preserved here, are: 
 
 The ancient Regalia. 
 
 On the right side: The state sword of Christian III of 
 gold and richly adorned with enamel and diamonds &c. 
 
 The crown of Christian IV; it is open, of gold with 
 chased and embossed work and ornamented by figures in enamel 
 and diamonds: It is in every respect a highly valuable and signi- 
 ficant work of art, said to have been executed by the renowned 
 goldsmith Diderik Fiuren in Odense. 
 
 The original copy of the lex regia in the hand-writing 
 of its author Peter Schumacher (Griffenfeld) and with the original 
 signature of Frederik III and the royal seal attaches. Further 
 more the silver-case belonging to it, on which is engraved: Lex 
 Regia. Frider. 3. MDCLXV. XIV Novembris. 
 
 The new Regalia. 
 
 On the top of the pyramid: the latter crown, which in 
 contra distinction to that of Christian IV is with closed curvatures 
 and bears on the summit the cross and globe (which form was 
 first common in the days of the absolute power). It is of gold, 
 set with a multitude of precious stones, of which four are above 
 
125 
 
 all of an extraordinary size ane value (two rubies and two sap- 
 phires); they are placed in the lowest rim. 
 
 On the side towards the drilling ground: the globe, of gold 
 with a band of diamonds, upon a blue enamelled ground, and a 
 cross likewise decorated with diamonds; the sword, with a gold 
 hilt set with diamonds; the sheath adorned with the arms of the 
 kingdom and the provinces in enamel and diamonds; the broad 
 band, to which it is hung, is embroidered in gold and decorated 
 with diamonds and enamel; the sceptre, of gold with diamonds 
 and enamel, terminates in the form of a crowned lily; the box 
 for the consecrating oil, of gold with enamel and diamonds. 
 
 These objects, remarkable for their exquisite workmanship, 
 are said to have been executed by the celebrated Casper Herbach 
 (-!- Art-Casper «) and were used for the first time at the coronation 
 of Christian V Juni /t'l 167 1. 
 
 The large amethyst, which decorates the canopy of the 
 Royal chair upon the daj' of coronation; it is enamelled under- 
 neath and adorned with the monogram of Christian V. 
 
 The original order of the elephant with the chain (com- 
 posed of elephants that are linked together by towers) , all of 
 gold and decorated by enamel and diamonds; the star of bril- 
 liants belonging to the order; another of eight rays, embroidered 
 with silver-thread and thickly set with pearls. The one last named 
 is, intended as an ornament for the royal mantle. 
 
 The original Dannebroge-order: a white enamelled gold- 
 cross with red edges, set with diamonds. The chain is composed 
 of, alternate, white enamelled gold crosses with red edges, the 
 crowned monogram of Christian V^ and a crowned W (Valdemar 
 the Victorious). — The insignia of both orders with their belongings 
 are from the time of Christian \\ 
 
 We further remark: a garter, belonging to the coronation 
 dress of the king. 
 
 Upon the side opposite the door: The large royal goblet 
 (to taste from before it is presented to the king on his coronation- 
 day), of pure gold, with embossed, chased and enamelled work, 
 that bears the mark of a great master's hand (upon the cover are 
 six swans who bear the Regalia in their beaks Sec). Executed 
 in Holland in the time of Frederik III. — A dish with a can 
 and a pair of candlesticks of embossed gold, which are used at 
 the Christening of the royal children (from the time of Frederik III). 
 In accordance with an old arrangement it has been the usage to 
 inscribe the full name of the baptiz.ed child on the under part of 
 
126 
 
 the dish, and this having been done from its first employment 
 until now, it has thus preserved an enduring record of the recur- 
 rences of its use. 
 
 Upon the left side: 
 
 The queens crown of gold with diamonds &c. 
 
 The crownjewels, namely, besides some single smaller dia- 
 mond-ornaments, which retain their original settings, the following 
 ornaments, which in the time of Christian VIII were re-set in more 
 modern taste by the jeweller Weishaupt in Hanau: 
 
 1, A neck-lace, consisting of 45 large brilliants with earrings 
 to match. 
 
 2, A neck-lace of very large rose-diamonds. 
 
 3, A necklace of large pearls; in the middle an ornament 
 of brilliants and rubies. To this belongs a stomacher and 
 earrings, likewise of brilliants, rubies and pearls. 
 
 4, A neck-lace of emeralds and brilliants with earrings of 
 the same. To this belongs a diadem and stomacher also of 
 emeralds and brilliants. 
 
 5, A large bouquet for the bosom of white and yellow 
 brilliants. 
 
 The crown is indebted for the greater part of these jewels 
 to the testamentary dispositions of the queen dowager Sophia 
 Magdalena and the princess Charlotta Amalia, dated respectively 
 Oct. lOtli 1746 and July ist 1773. 
 
I 
 
Tlie Oldeuborg Lorn. 
 
UNIVERSITY OF CALIFORNIA LIBRARY 
 
 BERKELEY 
 
 1 
 
 Return to desk from which borrowed. 
 
 This book is DUE on the last date st 
 
 imped beloiv. 
 
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