Charlottenborg Palace is a large mansion originally built as a residence for Ulrik Frederik Gyldenløve. It has served as the base of the Royal Danish Academy of Fine Arts since its foundation in 1754. Several other institutions of the Danish art world are also based at Charlottenborg, which today also serves as an exhibition space for art exhibitions, which is called Kunsthal Charlottenborg.
The site was donated by King Christian V to his half brother Ulrik Frederik Gyldenløve on 22 Marts 1669 in connection with the establishment of Kongens Nytorv. Gyldenløve built his new mansion from 1672 to 1683 as the first building on the new square. The main wing and two lateral wings were built from 1672 to 1677, probably under the architect Ewert Janssen. In 1783 mansion was extended with a rear, fourth wing was designed by Lambert van Haven.
In his old age, the large mansion became too big for Gyldenløve who sold it to the dowager queen Charlotte Amalie in 1700, hence the name. After the King Christian V´s death in 1699 the Queen Mother, Charlotte Amalie, purchased the Palace for 50,000 Danish crowns. Hereafter named Charlottenborg Palace. In 1714, when the Queen Downer died, it was passed to King Christian VI. Renovations began in 1736-1737, and its use and users shifted for a period of time. A small theater was constructed and used for various concerts, operas and theatrical performances. The Palace Garden contained the Botanical Garden between 1778-1872.
In 1701, the old Academy of Arts began its activities in the Palace. The small school slowly grew and was finally formally inaugurated in the Charlottenborg Palace on March 31, 1754. In 1787, the ownership of the Palace was transferred to The Royal Danish Academy of Art. The Academy still occupies the Palace.
Charlottenborg is a four-winged, three-storey building designed in the Dutch Baroque style but also with some Italian influence. The main wing towards the square has a central risalit flanked by two more pronounced, two-bay corner risalit. All three are topped by balustrades. The central risalit is decorated with Corinthian pilasters and a Tuscan/Doric portal with balcony The facade has sandstone decorations and window pediments.
The lower rear wing consists of three pavilions. The central pavilion has a Tuscan arcade below, niches with busts above, and a lantern on the copper-covered roof.
The floor plan is remniscient of French castles. It has a piano nobile with a banguet hall above the main entrance, with access to the balcony, a ground floor with lower ceilings, and a second floors for servants with even lower ones. Ths arrangement became characteristic of mansions and upper-class town houses in the entire 18th century. In the rear wing, above the arcade, there is a well-preserved domed Baroque room with a splendid stucco ceiling.References:
The Broch of Gurness is an Iron Age broch village. Settlement here began sometime between 500 and 200 BC. At the centre of the settlement is a stone tower or broch, which once probably reached a height of around 10 metres. Its interior is divided into sections by upright slabs. The tower features two skins of drystone walls, with stone-floored galleries in between. These are accessed by steps. Stone ledges suggest that there was once an upper storey with a timber floor. The roof would have been thatched, surrounded by a wall walk linked by stairs to the ground floor. The broch features two hearths and a subterranean stone cistern with steps leading down into it. It is thought to have some religious significance, relating to an Iron Age cult of the underground.
The remains of the central tower are up to 3.6 metres high, and the stone walls are up to 4.1 metres thick.