User:Ramblersen2/Sandbox

Room A–B: Weapon Collection
In Room A is a portrait of the four-year-old Christian V, painted by Karel van Mander in 1650. He is dressed as a field commander and surrounded by salute guns and other military attributes. An iron door marked with the date #1681" opens to the room where Christian V kept the kingdom’s store of coins.

Room B contains a collection of weapons, comprising both ceremonial weapons, military weapons and weapons used for tournaments.

Room C. Ivory and Amber Toom
The northernmost room in the basement )Room V) contains approximately half of Rosenborg’s some 7,00 artefacts made of ivory and amber. For centuries, starting with Frederik II and ending with Frederik V, all the successive kings of Denmark-Norway employed turners and carvers. Other pieces were gifts from foreign prulers n return for white hunting falcons from Iceland and horses from the Royal Frederiksborg Stud. Next room

Room D: Rosenborg Wine
Room C contains the infamous Rosenborg Wine. With roots Christian IB's time, but gradually topped up, it it stillserved for the Queen’s New Year banquet and for other special occasions. In 1982, it had to be transferred from the original wooden barrels to to steel tanks and bottles.

Room 1–3: Christian IV's private chambers
Room 1–3 are the former private chambers of Christian IV. The Winter Room (Room 1) is the most important of these rooms. The rich panelling was completed by Court cabinet-maker Gregor Greuss in circa 1620. The integrated paintings, mostly by unknown artists, were imported from Antwarp. The bay windows are not from Christian IV's time but the result of alterations in. The mythological paintings of the ceiling, which replaced the original stucco ceiling in 1770, were created by Pieter Isaacsz for a room on the first floor. The motifs include The Feast of the Gods and The Fall of the Giants.

The Winter Room is especially known for its system of audio channels in the floor, which allowed the king and his guests to listen to music played by "invisible" musicians in the cellar vault. A speaking tube also connected it to both the Wine Cellar, the room above and a room at the opposite end of the building. Another technical device in the room was a mechanical arrangement for rcontrolling the drawbridge. The most important object on display in the room is an astronomical clock with musical works and moving figures, created in 1594 by Isaac Habrecht, partly as a smaller copy of a clock in Strasbourg Cathedral, for the Kunstkammer at Gottorp Castle. In 1764, it was transferred to Copenhagen. Other objects include three marble busts of Christian IV ( 1644 by François Dieussart), Charles I of England (1633, probably by Pierre Besnier) and Henriette Marie of England (1640, probably by F. Dieussart).



Room 2, a tower chamber, is Christian IV's former writing room. The fireplace, ceiling painting (with ecenes from Orlando Furioso) and the paintings integrated in the wall panelling all date from his time. The wall coverings, green silk with gold ornaments, date from around 1700. In a small appendix, located behind a jib door in the north wall, was a staircase which gave direct access to the cellar. Frederik III had the staircase replaced with an ascenseur, or "ascending chair", which could be drawn to the first and the second floor, saving the king the trouble of climbing the stairs himself. The items exhibited in the Writing Room are mainly mementos of Christian IV, his immediate family and his forefathers.

Room 3 is Christian IV's former bedroom and the room in which he died.The objects on display in the room are related to Christian IV, his children and forfathers. The wall panels and doors are also from Christian IV’s time but were originally finished with floral-painted framing. In the 1660s, Frederik III and Sophie Amalie had them adapted to the fashionable Chinese style.

The stucco ceiling dates from the 1630s. The three ceiling paintings, representing the the gods of the earth, heavens and oceans. are later additions. The central of the three paintings, Hera and Zeus on Mount Olympus, was painted by Abraham Wuchters with Hera made to look like Queen Sophie Amalie. The two other paintings were painted by Isaac Isaacsz.

From the room, Christian IV had direct access to a bathroom and a toilet, the latter of which emptied directly into the moat.

Room 4: The Dark Room
Originally connected to the Stone Hallway, Room 4 was first built as an anteroom separating the King’s apartments from those of the Queen.In 1616, with the construction of the Great Tower, it lost the access to direct daylight.In 1705 it became the bedchamber of the King and Queen.

The stucco ceiling was made by Valentin Dresler from Schmalkalden. The fireplace and silk tapestries date from the reign of Frederik IV. The striped tapestries with scalloped pelmets and tassels were probably inspired by the designs of Daniel Marot for the decoration of the stately homes of the time.

The armchair, which dates from the 17th century, was ingeniously constructed to hold down a guest with the use of securing devices, concealed in the armrests. The strapped person could then be soaked by water running from vessels in the back of the chair through pipes in the seat. When the victim was released and stood up from the chair, a trumpet hidden in the seat would toot.

Room 4a: Frederick IV's Garden Room
Room 4a is the former bathroom of Christian IV, which had become unnecessary with the construction of the new one. In 1705-1706, it was converted into a room for Frederik IV and Queen Louise in association with their shared bedroom. It became known as the Garden Room due to its fine views of the garden. The ceiling features stucco work by Friederich Ehbisch and a painting by Benoît Le Coffre. The wooden floor with inlays and the painted and marbled panels are from 1707.

The objects in the Garden Room are from the days of Frederik IV and Queen Louise, who were the last royal couple to use the castle as a royal residence. The table and chairs by the central window were parts of their original furnishing. In 1745, Christian VI arranged for the right window to be replaced by a door with direct access to the private garden.

Room 5: Frederick III's Marble Room
Room 5 was was originally the bedroom of Christian IV’s morganatic wife, Kirsten Munk. In 1668, Frederik III had the room furnished in a pompous Baroque style with new stucco ceilings ample use of o,otatopm marble, then much more exclusice than real marble. The ceiling paintings show putti carrying the Regalia; in the heart-shaped areas surrounding the paintings, the parts of the Danish coat-of-arms are shown. Most of the exhibited objects are from the same period.

Christian V, whose monogram is on one of the doors, used the Marble Room when in 1671 he bestowed the ]]Order of Dannebrog]] for the very first time. Among the recipients were Peder Griffenfeld and Cort Adeler.

The Marble Room underwent a thorough restoration in 2006-7, undertaken by experts from Denmark, Germany and Italy. This was made possible with support from the A.P. Møller and Chastine Mc-Kinney Møller Foundation.

Room 6: Christian V’s Hall
Room 6 was originally the living room of Kirsten Munk. During the reign of Frederik III, it became part of the King’s suite as an antechamber to the Marble Room. At the end of the 17th century the walls were covered with tapestries, made by M. Wauters and purchased by Christian V in the Netherlands. The fireplace is from Christian IV’s time. It was originally situated in Frederik IV’s room, but was moved yo oys current location after ots conversion around 1700. The currentceiling was also created on this occasion. The central painting, showing an orchestra, is from the time of Christian IV. Bénoit le Coffre is credited with painting part of the outer frieze and the two pieces of the inner frieze with the dancing and playing children.

The objects in room are related to Christian V.

Room 7: The Stone Corridor
The corridorconnecting the two large gable rooms on the ground floor, was originally divided in two rooms. This is revealed by differences in the stucco decorations of the ceiling. Yhe stucco in the northern end of the corridor is much newer, dating from the time of Christian IV.

Most of the objects on display in the corridor dates from the time of Christian IV, whose pedigree is seen in the middle of the corridor. There are, however, also inotable xceptions, associated to Frederik III and Christian V.

Room 7A: The stairway to the Stair Turret
The stairway houses portraits from the time of Christian V. Although the stair turret was constructed in 1633, this stairway was not connected to it until 1758. The reason was that the spiral staircase was originally built between only the first and second storeys, while access to the first storey was via an outdoor double staircase, which was torn down when the spiral staircase was extended to the ground floor.

Room 7B: The Stair Turret
The stair turret was constructed in 1633 for the upcoming wedding of Christian, the Prince Elect. To begin with, a spiral staircase was built only between the first and the second floor, while access to the first floor was via an outer double staircase. The ground floor of the stair turret was instead used as a silver room, with access from the Stone Passageway. This made sense, because the ground floor was private chambers, while the official rooms were upstairs. In 1758, it was extended all the way to ground floor.The outer staircase was demolished at the same time.

The Staircase is decorated with equestrian pictures from 1691-1693 and flower paintings by Maria Sibylla Merian.

Room 8 Frederik IV’s Corridor


Frederick IV's Corridor (Room 8) orridor connects the central room (" The Rose") with the northern end of the castle. The walls are covered with gilt leather tapestries are originally from from Frederiksberg Palace. The corridor is mainly furnished with paintings and other exhibits dating from the time of Frederik IV. Some of the exhibits are mementos from the Great Nordic War, Denmark's last great war with Sweden, omcæuding several objects with connections to Charles XII of Sweden or Peter the Great.

Room 9: Princess Sophie Hedvig's Chamber
Room 9, a tower room, was by Christian IV used as his Golden Chamber. It was also used for confidential discussions in connection with official receptions in the adjoining Audience Chamber. In hChristian IV's day, it was decorated with gilt wooden panelling. with floral motifs

Frederik III used the chamber as a meeting room, used for informal audiences with foreign diplomats. In 1663-1665, he had it redecorated by the Dutch artist Francis de Bray in the popular Chinoise style, usung lacquer set with turquoise and mother-of-pearl. In 1715, it came into use as the private chamber of Princess Princess Sophie Hedevig, Frederick IV's sister, after being restored by Christian van Bracht.

The writing table, drawing table and mist of the chairs are examples of lacquered export furniture made in Canton according to Eiropean taste. Two of the chairs are copies made in Copenhagen in the 1750s. The chandelier is one of few objects rescued from the fire of Sophie Amalienborg Palace in 1689. It was probably made in France.

On the front a Harlequin scene embroidered in wool presumably by Queen Charlotte Amalie and Princess Sophie Hedevig; on the back Frederik IV’s monogram worked in silver thread on velvet.

The fire screen was made by Jean Henri de Moor in Copenhagen in 1690 and features Frederick's monogram the rear side. On the front side, it is decorated with a Harlequin scene embroidered in wool, presumably by Queen Charlotte Amalie and Princess Sophie Hedevig;

Room 10: Frederick IV's Hall


Room 10 is Christian IV’s former Audience Chamber. It was then one bay longer. The walls were hun with family portaits.

In 1700, it was shortened by one bay and converted into an antechamber for Princess Sophie Hedevig. The marble fire place and the mythological ceiling paintings were in connection with a renovation moved the the King's Cahmber and Christian IV's Winter Room. The new ceiling panels, with painted emblems, originally made for the Long Hall, were possibly painted by Anders Nielsen in 1623. The walls were in connection with the 1700 transformation covered with tapestries woven in Oudenaarde.

The chandelier, a gift fromMaria Theresa, was probably made in Vienna by Anton Matthias Joseph Domanöck. From 1754 to 1794 it hung in the Royal Audience Room at Christiansborg Palace, from where it was rescued during the Dire of 1694.

Room 11 Frederik IV’s Cabinet
Room 11 was used by Princess Sophie Hedevig,as an audience chamber. None of its original furnishings have survived. When Rosenborg was converted into a museum with chronological exhibitions, the first floor was furnished with royal interiors from Frederiksberg Palace and the Prince's Mansion. The inlaid floor is from the Prince's Mansion..

The three tapestries on the walls, with motifs from Ovid’s Metamorphoses, were created by Berent van der Eichen, an artist from the Spanish Low Countries, who lived and worked in Denmark at the end of the 17th century. Most of the objects on display in the room date from the decades around 1700.

Room 12: Christian VI's Room
Room 12 was originally the bedchamber of Sophie Hedevig. The walls are now decorated with tapestries depicting scenes from the life of Alexander the Great. They were brought as samples by the tapestry-weaver Bernt van der Eichen. He was summoned from Flanders in 1684 before receiving a commision for the tapestries illustrating the war feats of Christian V, which were hung in the Knights’ Hall.

The parquet floor iis from Frederiksberg Palace; it was moved to Rosenborg in around 1870. The ceiling painting, Flora, Distributing Blessing over Denmark, painted by Benoît le Coffre, was also transferred from Frederiksberg Palace.

The exhibits on display in the room are connected to Christian VI.

Room 13: The Rose
ROOM 13: The name "The Rose" dates from the time of Frederik IV when it was used as a dining hall for the ladies and gentlemen of the court. The room was later used by The Royal Lottery.

In connection with the restoration of the castle in the 19th century, its original quadratic shape was recreated. The ceiling paintings and the parquet floor were transferred from Frederiksberg Palace. The ceiling paintings were painted by court painter Bénoit le Coffre and Hendrik Krock. The chandelier, made in England at the end of the 18th century, was originally from Jægerspris Palace.

The paintings, furniture and other objects in The room date from the time of Frederik V

Room 13A The Mirror Cabinet
The Mirror Cabinet was created for Christian V with inspiration from the Palace of Versailles. During the Baroque period, mirror cabinets were often incorporated in the royal ssuite as its innermost and most intimate room, normally in connection with the bedchamber. Frederik IV’s bedchamber was on the ground floor (Room 4), with access to the mirror cabinet via the spiral staircase of the tower.

Room 14: ROOM 14: Frederik V’s Cabinet
Room 14 was part of Prince Carl's private chambers. Together with Christian VII’s Room and Frederik VI’s Room, it was redorated in 1782-1784 by Johannes Wiedewelt. The tapestries with garden scenes are from around 1750 and and Charles le Vigne’s factory in Berlin.

The settee and the two armchairs are presumably from Fredensborg Palace. The chest of drawers, in rosewood veneer, was possibly made in C.F. Lehmann's workshop. The amber chandelier was made by Lorenz Spengler from a design by Marcus Tuscher. Most of the porcelain is from Christiansborg Palace.

Most of the objects on display in this room date from the second half of the 18th century and are connected to Frederik V, his consorts Louise and Juliane Marie, and their children, Christian VII and Prince Frederik, the Heir Presumptive.

Room 15 Christian VII’s Room
Room 15 was together with Frederik V’s Cabinet and Frederik VI’s Room, wToom 15 in 1782–84 by Johannes Wiedewelt adapted for use as the new Royal Coin Cabinet. The panels and portals are from this same period. The exhibits date from the reign of Christian VII and Crown Prince, Frederik (VI).

Room 16: Frederik VI’s Room
Like Frederik V’s Cabinet and Christian VII’s Room, Room 16 is one of the interiors designed by Johannes Wiedewelt in 1782-1784.

Most of the exhibits are connected to the life and government of Frederik VI. Most of them date from the beginning of the 19th century. Most of the furniture and handicrafts are in the Empire style.

Room 17: Christian VIII’s Room


The southeast-facing gable room owes its current appearance to Frederik VII’s renovation of the first floor at the beginning of the 18th century. The ceiling is part of the old ceiling from Christian IV’s time, as it is in Frederik IV’s Room.

Today the room contains pictures and curios items from the reign of Christian VIII. One of the exhibits is a mantle clock with a bronze figurine of Christian VIII. The King is depicted in a relaxed pose, sitting in a chair, unlike the stiff royal portraits of earlier times.

Room 18: Frederik VII’s Room


Frederik VII’s Room, with exhibits connected to Frederick VII, was installed just six years after his death. The fact that the museum of Rosenborg Castle contained tsuch ontemporary pieces, attracted international attention.

TThe interior dates from Frederik IV renovation of the first floor at the beginning of the 18th century. Part of the ceiling in both rooms date from the time of Christian IV. The velvet tapestries were purchased in 1728 in Venice for Copenhagen Castle and transferred to Rosenborg in the 1750s.

Many of the exhibits represent the revival style which were popular in the middle of the 19th century.

Room 19
The corridor on the first floor links the central Room 13 (The Rose) with the rooms in the souterhn part of the castle. Most of the exhibits date from the reigns of both Christian VII and Frederik VI, allthough a few of them are older than that. They include a cupboard with porcelain, two sets of mirrors, some furmiture and royal portraits (paintings, busts and drawings).

Room 20: Bronze Room
The Bronze Room, in the southern tower bay, features a table decoration set of gilt bronze from the 1820s. It was as a wedding present from Frederik VI to his daughter Caroline and Ferdinand, Hereditary Prince of Denmark, created in Paris, possibly from a design by Gustav Friedrich Hetsch. After Caroline's death, in 1881 it was sold by auction to Carl Jacobsen and donated to the museum. He also paid for the decoration of the room in Empire style. A matching set of bronze statuettes of some of Bertel Thorvaldsen's most famous works, which was also purchased by Jacobsen, is now in Amalienborg Palace. Other exhibits in the Vronze Room onclude a set of mirrors designed by C.F. Harsdorff and executed by J. Karleby (1771), two chairs used for Christian VIII’s wedding at AAugustenborg Palace (1815), and a clock og marble and gilt bronze made by David Louis Courvoisier in Paris (c. 1790).

Room 21: The Knight's Hall


The Knight's Hall was not completed until 1624. It was originally used as a ballroom. From around 1700, it was used mainly for audiences and banquets. It was not until the first hald of the 19th century it became known as the Knight's Hall.

Christian V had the hall partly modernised with 12 tapestries showing the King’s victories in the Scanian Wars, 1675-1679. The tapestries were later moved to Christiansborg Palace, but were returned in 1999. The present stucco ceiling is from the beginning of the 18th century, featuring the Danish coat of arms surrounded by the Orders of the Elephant and Dannebrog. The side reliefs depict historical events from the early Frederik IV, including the liberation of the serfs and creation of the dragoons and the land militia. The four large paintings by ]]Hendrick Krock]] in the ceiling, represent the four Regalia (crown, orb, sword andscepter=.

The coronation chairs was constructed for Frederick III with inspiration from King Salomon's throne. It is guarded by three life-size silver lions. It was used by all the absolute kings, starting with Frederick II. The Knights’ Hall also contains a large collection of silver furniture, of which most is from the 17th century.

Room 22 The Glass Cabinet
The Glass Cabinet was adapted to its current design for Frederick IV in 1713-14. At the end of tthe 17th century, Porcelain cabinets of this type were quite common in Europe, but this is the only known glass cabinet. The room was used for the exquisite glass collection which Frederik had been presented with by the city of Venice in 1709. The inspiration for the room was the Porcelain Cabinet at Charlottenburg Palace in Berlin. The designer was Gottfried Fuchs. The glass was presented on pyramid-shaped consoles, covered with marbled paper and edged with festoons of lead gilt. The walls were clined with silk, and on the ceiling is a painting of Bacchus, the god of wine, by Lorenz and Marcus Cardes. The fireplace is from the time of Christian IV, but was later given Frederik III’s monogram. During the time of Christian V, this was the Picture Cabinet containing small intimate paintings, the so-called cabinet pieces.

Room 23: The Porcelain Cabinet
Frederik IV made plans to have a porcelain cabinet to complement the Glass Cabinet. By the end of the 17 century, such cabinets had become fashionable at princely courts in Europe. Frederik had visited the porcelain cabinet at Charlottenburg Palace in Berlin on the way home from his Italian journey in 1709. That became the inspiration for the Glass Cabinet, but for unknown reasons, the plans for a porcelain cabinet was never realized. The current interior dates from circa 1860. Some of the Royal Houses’ finest porcelain pieces are now on display in the cabinet. A significant part of the collection is made up porcelain from Royal Copenhagen Porcelain Manufactory, most importantly the Flora Danica set. According to tradition, it was commisioned as a gift for Catherine the Great of Russia, but she died before the set was completed. The collection also includes several examples of Meissen porcelain from the first part of the 18th century, Sèvres porcelain and Chinese porcelain.

Room 24 The Regalia Room
Room 24, a tower room, was in the era of Absolute monarcy used as the Royal Treasury, It was by Christian V used for the Regalia as well as other royal treasuries in the form of gold and precious stones, which were housed in two wall cupboards, still in existence. In the adjacent "reen Cabinet", a small velvet-lined room in the tower extension, behind the panel door on the right, the #next best" possessions: handicrafts, miniature portraits and parade arms were displayed.

When Rosenborg was converted into a museum in the 19th century, the contents of the two cabinets were relocated to the rooms representing the ondividual kings. The Regalia, however, were not until 1922 put on public display in Christian V’s Room. With the opening of the underground Treasury in 1975 and the Green Cabinet in the basement in 1994, Regalia and handicrafts are once again part of the same exhibition. Nothing remains of the original tower room decorations. The stucco ceiling, made by C.L. Fossati, dates from a restoration in 1762.

The armchair (1715) and table (1716) now seen in the room, both with coverings of silver, were made by royal goldsmith Andreas Norman as birthday gifts from Queen Louise tp Frederick IV. In the years 1795-1828, the set were used at the annual opening of the Supreme Court at Rosenborg Castle. The chair and the table were both made by Andreas Norman. The chair is upholstered with red velvet featuring  Frederik IV’s monogram and the Norwegian lion om embroidery. The table cloth is with embroderies of with the motto of Frederik IV. The table-and-chair are flanked by two guéridons made by Johan Adolph Sülssen in Hamburg om around 1710.