KøbenhanskeMotiver_1587-1807

The engraving depicts a fire drill around the C astle as it would have looked at the end o f the 17 th century. A l­ though it is the fire-fig h tin g w h ich p rim arily cau ght the interest of the artist, he also ga ve a fa irly accurate de­ scription of the m ilieu around the Castle, even if he did not master perspective. T he v iew is taken from the H øjbro bridge near the C han cellery, the h a lf gable o f w h ich can be seen on the left. Behind the Stock Exchange there w as a canal with a street alon g the qu ay, the present Slotholm s- gade. The A rtist has carefu lly rendered all the details, in ­ deed, we can even see w h at tim e it is on the clock of Blå­ tårn (the blue tow er). T o the righ t w e h ave the crenellated gable of the w in g w ith the banqueting hall, and in the shadow underneath stands the w ooden horse. 22 THE CASTLE SQUARE 1697 These two gouaches b y Bruun have been included in order to show that the reliability o f his v iew s is sometimes to be doubted. Apparen tly th ey are both painted after the same drawing - a now unkn ow n v iew from 1698 - and in spite of the meticulousness o f the execution there are quite a few inexplicable inconsistencies. It m ust be remembered that as the Castle had been rebuilt 17 2 4 -2 7 Bruun did not have first-hand kn ow led ge o f w h at the old buildin g had looked like, but this is n ot a satisfactory explanation o f the divergences. The v iew cat. no. 23 is the most acceptable, while 23 A is more enigm atic. There is n othin g to indicate that the Castle has at a n y tim e been ashlared or that it had artificial squares and join ts painted on the facades. The Exchequer has received the same frontdecoration. Both must be ascribed to B ruun's im agin ation rather than the actual circumstances. 23 A has a w rou gh t iron gallery on the tower of the R oyal w in g, w h ile this has been left out in the other painting. 23 & 23 A THE C A ST LE OF CO PENH A G EN 1698

24 THE BOM BARDM EN T OF CO PENHAGEN 1700 Imm ediately after his accession to the Throne Frederik IV launched an attack against the Duke of Gottorp. England, Holland, and France had guaranteed the in tegrity of the duchy and consequently sent down a huge fleet through the Sound. A t the same time Carl XII prepared for w ar in Skane. The engraving depicts the situation on July 25th and 26th, 1700, when the enemy bombed Christianshavn, w hich was hardly damaged, however. The perspective over the city is seen from high up in the air, and it reveals a thorough know ledge of the topography of Copenhagen; thus the fortification is corrcetly delineated w ith its new bastions (completed 1692), stretching in a sem i-circle from Kalvebod round Christianshavn to H ukket opposite the Citadel. That the artist had an intimate know ledge of the city centre can be seen from his accurate indication of for example the situation of the private mansions (the German text on the left). W ith the exception of this, the view is n aturally quite summary. Christian G yldenlove died 29 years old, and as the K ing's son he received an extremely grandiose funeral, immor­ talized in a book w ith etchings illustrating the ceremony. In this etching we see the procession pass Kongens N ytorv (the K ing's new square) on its w a y to V or Frue kirke (the Church of O ur Lady). It is the first picture of the square which was laid out in 1670, and of the m ilieu surrounding it. W e see Krinsen w ith its new ly planted trees and La- moreux' equestrian statue of Christian V , put up 1688. The canal at N yh avn had been constructed 1 6 7 1-7 3 , and the houses on its left side were built in the years follow in g imm ediately after. To the far left we see the N iels Juel House, the facade of w hich is embellished w ith mourning decorations. Behind Krinsen Charlottenborg and the naval sail loft, and to the right we see one half of G jethuset - the canon foundry. 25 THE FUNERAL PROCESSION OF CHR ISTIAN GYLDEN L 0 VE PA SSING KONGENS N Y TO R V 1703

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