The Yellow Palace (Det Gule Palæ), or Bergum's Mansion, is considered the first example of Neoclassical architecture in Copenhagen. When Frederiksstaden was laid around 1748, it was envisioned as a uniform Rococo district. All new buildings had to comply with certain guidelines stipulated by Nicolai Eigtved, the district's masterplanner. After Eigtved's death in 1754 they were in principle upheld but as fashions changed they were somewhat relaxed. The Yellow Mansion was built built from 1759 to 1764 for the timber merchant H. F. Bargum. The architect was Nicolas-Henri Jardin and he designed it in the Neoclassical style.

King Frederick VI purchased the mansion in 1810 to use it as a guest residence for relatives visiting the royal family. In 1837, King Frederik VII handed the property over to his nephew Prince Christian of Glücksborg who had just arrived in Copenhagen from Germany. At this stage no one knew that he was later to become Christian IX as the first Glücksburg king of Denmark. Prince Christian took up residence in the mansion and lived there until 1865 when he had become king and moved into Amalienborg Palace. Later Prince Valdemar lived in the Yellow Palace until his death in 1939 as its last royal resident.

Today the building is owned by the Danish Palaces and Properties Agency and houses the Lord Chamberlain's Office.

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Details

Founded: 1758-1764
Category: Palaces, manors and town halls in Denmark
Historical period: Absolutism (Denmark)

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en.wikipedia.org

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User Reviews

susanne petersen (3 years ago)
Kenny Gottlieb (3 years ago)
Jeg bor der desværre!! Det er et lortested!! Her er skævt overalt, en dårligt fungerende drift! En bestyrelse som er urepræsentativ.. pga folk ikke gider deltage. Her er hundekoldt om vinteren!! Flyt ikke ind for Guds skyld, i kommer fortryde. Der er en stor andel af psykisk syge,bor iopgang med en dement,en skizofren paranoid, alkoholiker,neurotiker etc etc. Det er klart, socialt skæve eksistenser der bor her! Lad mig komme udaf det gamle kolde lort!! Undskyld sproget. Det hele, er blot min oplevelse.
Malene Hald (3 years ago)
Smuk bygning finansieret af sukkerpenge tjent på slavehandel.
Karina Larsen (4 years ago)
Betinna er lækkermås
Jacob Bøtter (4 years ago)
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.