History of Denmark between 1771 - 1814
New propriety and Enlightenment ideas became popular among the middle classes of Denmark, arousing increased interest in personal liberty. In the last 15 years of the 18th century the authorities relaxed the censorship which had existed since the beginning of the 17th century. At the same time, a sense of Danish nationalism began to develop. Hostility increased against Germans and Norwegians present at the royal court. Pride in the Danish language and culture increased, and eventually a law banned "foreigners" from holding posts in the government. Antagonism between Germans and Danes increased from the mid-18th century on.
In the 1770s, during the reign of the mentally unstable Christian VII (1766–1808), the queen's lover, a German doctor named Johann Friedrich Struensee, became the real ruler of the country. Filled with the ideas of the Enlightenment, he attempted a number of radical reforms including freedom of the press and religion. But it was short-lived. The landlords feared that the reforms were a threat to their power, while the commoners believed that religious freedom was an invitation to atheism. In 1772, Struensee was arrested, tried, and convicted of crimes against the majesty. Struensee was beheaded his remains were quartered and put on display on top of spikes on the commons west of Copenhagen. The next 12 years were a period of unmitigated reaction until a group of reformers gained power in 1784.
Denmark became the model of enlightened despotism, partially influenced by the ideas of the French Revolution. Denmark thus adopted liberalizing reforms in line with those of the French Revolution, with no direct contact. Danes were aware of French ideas and agreed with them, as it moved from Danish absolutism to a liberal constitutional system between 1750-1850. The change of government in 1784 was caused by a power vacuum created when King Christian VII took ill, and influence shifted to the crown prince (who later became King Frederick VI) and reform-oriented landowners. Between 1784 and 1815, the abolition of serfdom made the majority of the peasants into landowners. The government also introduced free trade and universal education. In contrast to France under the ancien regime, agricultural reform was intensified in Denmark, civil rights were extended to the peasants, the finances of the Danish state were healthy, and there were no external or internal crises. That is, reform was gradual and the regime itself carried out agrarian reforms that had the effect of weakening absolutism by creating a class of independent peasant freeholders. Much of the initiative came from well-organized liberals who directed political change in the first half of the 19th century.
The long decades of peace came to an abrupt end during the Napoleonic Wars. Britain felt threatened by the Armed Neutrality Treaty of 1794, which originally involved Denmark and Sweden. The British fleet attacked Copenhagen in 1801, destroying much of Denmark's navy. Denmark nonetheless managed to remain largely uninvolved in the Napoleonic Wars until 1807. The British fleet bombarded Copenhagen again that year, causing considerable destruction to the city. They then captured the entire Danish fleet so that it could not be used by France to invade Britain (as the French had lost their own fleet at Trafalgar in 1805), leading to the Gunboat War (1807–1814). The confiscation of the Danish navy was widely criticised in Britain.
In 1809 Danish forces fighting on the French side participated in defeating the anti-Bonapartist German rebellion led by Ferdinand von Schill, at the Battle of Stralsund. By 1813, Denmark could no longer bear the war costs, and the state was bankrupt. When in the same year the Sixth Coalition isolated Denmark by clearing Northern Germany of French forces, Frederick VI had to make peace. Accordingly, the unfavourable Treaty of Kiel was concluded in January 1814 with Sweden and Great Britain, and another peace was signed with Russia in February.
The post-Napoleonic Congress of Vienna demanded the dissolution of the Dano-Norwegian union, and this was confirmed by the Treaty of Kiel in 1814. The treaty transferred Heligoland to Great Britain and Norway from the Danish to the Swedish crown, Denmark was to be satisfied with Swedish Pomerania.
Interestingly, this period also counts as "the Golden Age" of Danish intellectual history. A sign of renewed intellectual vigor was the introduction of compulsory schooling in 1814. Literature, painting, sculpture, and philosophy all experienced an unusually vibrant period. The stories of Hans Christian Andersen (1805–1875) became popular not only in Denmark, but all over Europe and in the United States. The ideas of the philosopher Søren Kierkegaard (1813–1855) spread far beyond Denmark, influencing not only his own era, but proving instrumental in the development of new philosophical systems after him. The sculptures of Thorvaldsen (1770–1834) grace public buildings all over Denmark and other artists appreciated and copied his style. Grundtvig (1783–1872) tried to reinvigorate the Danish National Church and contributed to the hymns used by the church in Denmark.
The Château de Vaux-le-Vicomte is a baroque French château built between 1658-1661 for Nicolas Fouquet. It was made for Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the 'Louis XIV style' combining architecture, interior design and landscape design. The garden's pronounced visual axis is an example of this style.
To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed eighteen thousand workers and cost as much as 16 million livres. The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel, and an impressive firework show.
After Fouquet was arrested and imprisoned for life, and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues, and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.
The Marshal Villars became the new owner without first seeing the chateau. In 1764, the Marshal's son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when duke Charles de Choiseul-Praslin, killed his wife in her bedroom, but this did not happen at Vaux-le-Vicomte but at the Paris residence of the Duke.
In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction. The château was empty, some of the outbuildings had fallen into ruin, and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and the gardens had recovered their original appearance. His son, Edme Sommier, and his daughter-in-law completed the task. Today, his descendants continue to preserve the château, which remains privately owned by Patrice and Cristina de Vogüé, the Count and Countess de Vogüé. It is now administered by their three sons Alexandre, Jean-Charles and Ascanio de Vogüé. Recognized by the state as a monument historique, it is open to the public regularly.
The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the center, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates, and only later were they filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.
Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor which run the length of house providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.
Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.
The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced.
The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new.
Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.
Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Notre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.
From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature – these elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centerpiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks.