History of Denmark between 793 AD - 1035
With the beginning of the Viking Age in the 9th century, the prehistoric period in Denmark ends. The Danish people were amongst those known as the Vikings during the 8th–11th centuries. Viking explorers first discovered and settled in Iceland in the 9th century, on their way from the Faroe Islands. From there, Greenland and Vinland (probably Newfoundland) were also settled. Utilizing their great skills in shipbuilding and navigation they raided and conquered parts of France and the British Isles.
They also excelled in trading along the coasts and rivers of Europe, running trade routes from Greenland in the north to Constantinople in the south via Russian and Ukrainian Rivers rivers, most notably along the River Dnieper and via Kiev, then being the capital of Kiev Rus. The Danish Vikings were most active in Britain, Ireland, France, Spain, Portugal and Italy where they raided, conquered and settled (their earliest settlements included sites in the Danelaw, Ireland and Normandy). The Danelaw resulted when Alfred the Great was forced to cede half his kingdom to the Vikings, who then settled there for a time and engaged in peaceful trade, but attacks eventually resumed and the English kings had to pay tribute (Danegeld).
In the early 9th century, Charlemagne's Christian empire had expanded to the southern border of the Danes, and Frankish sources (e.g. Notker of St Gall) provide the earliest historical evidence of the Danes. These report a King Gudfred, who appeared in present day Holstein with a navy in 804 where diplomacy took place with the Franks; In 808, King Gudfred attacked the Obotrites and conquered the city of Reric whose population was displaced or abducted to Hedeby. In 809, King Godfred and emissaries of Charlemagne failed to negotiate peace, despite the sister of Godfred being a concubine of Charlemagne, and the next year King Godfred attacked the Frisians with 200 ships.
Viking raids along the coast of France and the Netherlands were large-scale. Paris was besieged and the Loire Valley devastated during the 10th century. One group of Danes were granted permission to settle in northwestern France under the condition that they defend the place from future attacks. As a result, the region became known as "Normandy" and it was the descendants of these settlers who conquered England in 1066.
In addition, the Danes and Norwegians moved west into the Atlantic Ocean, settling on Iceland, Greenland, and the Shetland Isles. Brief Vikings expeditions to North America around 1000 did not result in any settlements and they were soon driven off by natives. Other Viking raids into Germany and the Mediterranean were short-lived and had no lasting effect.
The Danes were united and officially Christianized in 965 AD by Harald Bluetooth, the story of which is recorded on the Jelling stones. The extent of Harald's Danish Kingdom is unknown, although it is reasonable to believe that it stretched from the defensive line of Dannevirke, including the Viking city of Hedeby, across Jutland, the Danish isles and into southern present day Sweden; Scania and perhaps Halland and Blekinge. Furthermore, the Jelling stones attest that Harald had also "won" Norway.
In retaliation for the St. Brice's Day massacre of Danes in England, the son of Harald, Sweyn Forkbeard mounted a series of wars of conquest against England. By 1014, England had completely submitted to the Danes. However, distance and a lack of common interests prevented a lasting union, and Harald's son Cnut (Canute) the Great barely maintained the link between the two countries, which completely broke up during the reign of his son Hardecanute. A final attempt by the Norwegians under Harald Hardrada to reconquer England failed, but did pave the way for William the Conqueror's takeover in 1066. Following the death of Canute the Great, Denmark and England were left divided and despite some attempts were never reunited.
Canute thanked the Norwegians for their patience and then went from assembly to assembly outlawing any sailor, captain or soldier who refused to pay a fine which amounted to more than a years harvest for most farmers. Canute and his housecarls fled south with a growing army of rebels on his heels. Canute fled to the royal property outside the town of Odense on Funen with his two brothers. After several attempts to break in and then bloody hand to hand fighting in the church, Benedict was cut down and Canute struck in the head by a large stone and then speared from the front. He died at the base of the main altar 10 July 1086, where he was buried by the Benedictines. When Queen Edele came to take Canute's body to Flanders, a light allegedly shone around the church and it was taken as a sign that Canute should remain where he was.
The death of St. Canute marks the end of the Viking Age. Never again would massive flotillas of Scandinavians meet each year to ravage the rest of Christian Europe.
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.