STEENWINCKEL, Hans van, the Younger

During the Middle Ages, Copenhagen became an important town for trade across the Baltic Sea, as did many other market towns along the Danish coast. To protect the trading centre, a huge fortification was erected encircling the town. In the middle of the 15th century Copenhagen became the royal residence and (in 1443) the capital of the Kingdom of Denmark, which at that time included all of Norway, the southern third of Sweden and large areas of northern Germany. Christian IV had new Renaissance buildings constructed in the medieval town, among them the Børsen (Exchange, 1619-40) by the Dutch architects Lourens van Steenwinckel and Hans van Steenwinckel the Younger; the Rundetaarn (Round Tower, 1643) with an Astronomical Observatory; the Rosenborg Palace (before 1613), a Renaissance parade castle not used as a permanent residence; and the Tøjhuset (Royal Arsenal, 1598-1604).

Børsen, also known as Børsbygningen (“The Stock Exchange”), is situated next to Christiansborg Palace, the seat of the Danish Parliament, on the island of Slotsholmen. It is most noted for its distinctive spire, shaped as the tails of four dragons twined together, reaching a height of 56 metres.

Built under the reign of Christian IV in 1619-1640, the building is considered a leading example of the Dutch Renaissance style in Denmark. It was planned by Christian IV as part of his plan to strengthen Copenhagen’s role as a centre for trade and commerce in Northern Europe. The king charged Lourens van Steenwinckel with the design of the new building, but Steenwinckel died shortly thereafter. The assignment was then passed on to his brother, Hans van Steenwinckel the Younger.

The site first had to be prepared since the embankment had not yet stabilized. Construction of the building began in 1620 and was largely completed in 1624 with the exception of the spire (installed in 1625) and details of the east gable (completed in 1640). The building contained 40 trading offices at the ground floor and one large room at the upper floor. The building was in use as a marketplace during the late 1620s.

During the Middle Ages, Copenhagen became an important town for trade across the Baltic Sea, as did many other market towns along the Danish coast. To protect the trading centre, a huge fortification was erected encircling the town. In the middle of the 15th century Copenhagen became the royal residence and (in 1443) the capital of the Kingdom of Denmark, which at that time included all of Norway, the southern third of Sweden and large areas of northern Germany. Christian IV had new Renaissance buildings constructed in the medieval town, among them the Børsen (Exchange, 1619-40) by the Dutch architects Lourens van Steenwinckel and Hans van Steenwinckel the Younger; the Rundetaarn (Round Tower, 1643) with an Astronomical Observatory; the Rosenborg Palace (before 1613), a Renaissance parade castle not used as a permanent residence; and the Tøjhuset (Royal Arsenal, 1598-1604).

Børsen, also known as Børsbygningen (“The Stock Exchange”), is situated next to Christiansborg Palace, the seat of the Danish Parliament, on the island of Slotsholmen. It is most noted for its distinctive spire, shaped as the tails of four dragons twined together, reaching a height of 56 metres.

Built under the reign of Christian IV in 1619-1640, the building is considered a leading example of the Dutch Renaissance style in Denmark. It was planned by Christian IV as part of his plan to strengthen Copenhagen’s role as a centre for trade and commerce in Northern Europe. The king charged Lourens van Steenwinckel with the design of the new building, but Steenwinckel died shortly thereafter. The assignment was then passed on to his brother, Hans van Steenwinckel the Younger.

The site first had to be prepared since the embankment had not yet stabilized. Construction of the building began in 1620 and was largely completed in 1624 with the exception of the spire (installed in 1625) and details of the east gable (completed in 1640). The building contained 40 trading offices at the ground floor and one large room at the upper floor. The building was in use as a marketplace during the late 1620s.

Built on three islets, in the main castle building the symmetrical requirements of the Renaissance style are broken by the large clock-tower on the chapel wing, while the three wings are effectively independent houses superficially merged to form a whole. The castle combines old and new. The exterior is in Netherlandish Renaissance style, red brick buildings with sandstone details, embellished by sweeping gables and imaginative spires. The resulting picturesque quality was evidently more important than the rigorous requirements of symmetry. Moreover, of greatest importance for the builder was the lavish sculptural decoration, which glorifies Christian IV as the leading Protestant prince through themes from astrology and ancient mythology and ancient Roman and Danish history. This triumphal process culminates in the chapel, the entire decoration of which can be seen as a demonstration of the King’s theocratic princely ideal.

The photo shows the main fa�ade with the entrance.

Built on three islets, in the main castle building the symmetrical requirements of the Renaissance style are broken by the large clock-tower on the chapel wing, while the three wings are effectively independent houses superficially merged to form a whole. The castle combines old and new. The exterior is in Netherlandish Renaissance style, red brick buildings with sandstone details, embellished by sweeping gables and imaginative spires. The resulting picturesque quality was evidently more important than the rigorous requirements of symmetry. Moreover, of greatest importance for the builder was the lavish sculptural decoration, which glorifies Christian IV as the leading Protestant prince through themes from astrology and ancient mythology and ancient Roman and Danish history. This triumphal process culminates in the chapel, the entire decoration of which can be seen as a demonstration of the King’s theocratic princely ideal.

The photo shows detail of the main fa�ade with the entrance.

Built on three islets, in the main castle building the symmetrical requirements of the Renaissance style are broken by the large clock-tower on the chapel wing, while the three wings are effectively independent houses superficially merged to form a whole. The castle combines old and new. The exterior is in Netherlandish Renaissance style, red brick buildings with sandstone details, embellished by sweeping gables and imaginative spires. The resulting picturesque quality was evidently more important than the rigorous requirements of symmetry. Moreover, of greatest importance for the builder was the lavish sculptural decoration, which glorifies Christian IV as the leading Protestant prince through themes from astrology and ancient mythology and ancient Roman and Danish history. This triumphal process culminates in the chapel, the entire decoration of which can be seen as a demonstration of the King’s theocratic princely ideal.

The photo shows the fa�ade of the Royal Wing.

During the Middle Ages, Copenhagen became an important town for trade across the Baltic Sea, as did many other market towns along the Danish coast. To protect the trading centre, a huge fortification was erected encircling the town. In the middle of the 15th century Copenhagen became the royal residence and (in 1443) the capital of the Kingdom of Denmark, which at that time included all of Norway, the southern third of Sweden and large areas of northern Germany. Christian IV had new Renaissance buildings constructed in the medieval town, among them the Børsen (Exchange, 1619-40) by the Dutch architects Lourens van Steenwinckel and Hans van Steenwinckel the Younger; the Rundetaarn (Round Tower, 1643) with an Astronomical Observatory; the Rosenborg Palace (before 1613), a Renaissance parade castle not used as a permanent residence; and the Tøjhuset (Royal Arsenal, 1598-1604).

Børsen, also known as Børsbygningen (“The Stock Exchange”), is situated next to Christiansborg Palace, the seat of the Danish Parliament, on the island of Slotsholmen. It is most noted for its distinctive spire, shaped as the tails of four dragons twined together, reaching a height of 56 metres.

Built under the reign of Christian IV in 1619-1640, the building is considered a leading example of the Dutch Renaissance style in Denmark. It was planned by Christian IV as part of his plan to strengthen Copenhagen’s role as a centre for trade and commerce in Northern Europe. The king charged Lourens van Steenwinckel with the design of the new building, but Steenwinckel died shortly thereafter. The assignment was then passed on to his brother, Hans van Steenwinckel the Younger.

The site first had to be prepared since the embankment had not yet stabilized. Construction of the building began in 1620 and was largely completed in 1624 with the exception of the spire (installed in 1625) and details of the east gable (completed in 1640). The building contained 40 trading offices at the ground floor and one large room at the upper floor. The building was in use as a marketplace during the late 1620s.

As Copenhagen emerged as a modern seat of government, a short flowering of Mannerist and early Baroque architecture based on Dutch models occurred under Christian IV. One of the results of this was the Stock Exchange in Copenhagen (1619-31 and 1639-40) built by Hans van Steenwinkel the Younger (1587-1639), a Danish architect and sculptor.

In 1550, Frederick II, King of Denmark and Norway (reg 1559-1588), acquired the Hillerødsholm Estate, renamed it Frederiksborg, and used the castle as a royal hunting lodge. Frederik’s son Christian, who was born there became very attached to the castle as a child. Nevertheless, when reigning as Christian IV (1588-1648) he decided to have it completely rebuilt in Netherlandish Renaissance style. The old building was demolished in 1599 and the Flemish architect Hans van Steenwinckel the Elder was charged with planning the new building. After his death in 1601, his sons Hans and Lourens completed the assignment. The main four-storey building with its three wings was completed around 1610 but work continued on the Chapel until 1618. The entire complex was finished around 1620 becoming the largest Renaissance building in Scandinavia.

Danish kings were crowned in Frederiksborg from 1660 to 1840, and it was a favourite royal residence until gutted by fire in 1859. It was restored, and the National Historical Museum was founded there in 1878.

Built on three islets, in the main castle building the symmetrical requirements of the Renaissance style are broken by the large clock-tower on the chapel wing, while the three wings are effectively independent houses superficially merged to form a whole. The castle combines old and new. The exterior is in Netherlandish Renaissance style, red brick buildings with sandstone details, embellished by sweeping gables and imaginative spires. The resulting picturesque quality was evidently more important than the rigorous requirements of symmetry. Moreover, of greatest importance for the builder was the lavish sculptural decoration, which glorifies Christian IV as the leading Protestant prince through themes from astrology and ancient mythology and ancient Roman and Danish history. This triumphal process culminates in the chapel, the entire decoration of which can be seen as a demonstration of the King’s theocratic princely ideal.

The greatest importance for the builder was the lavish sculptural decoration, which glorifies Christian IV as the leading Protestant prince through themes from astrology and ancient mythology and ancient Roman and Danish history.

The photo shows the interior of the Great Hall.

The greatest importance for the builder was the lavish sculptural decoration, which glorifies Christian IV as the leading Protestant prince through themes from astrology and ancient mythology and ancient Roman and Danish history. This triumphal process culminates in the chapel, the entire decoration of which can be seen as a demonstration of the King’s theocratic princely ideal.

The photo shows the interior of the chapel.