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366
FREDERIKSBORG.
Chap. XXIV.
the “ cour d’honneur” from the moat. Very grand is the
inner court: to the right stands the chapel, above which
is placed the Riddersaal; in front an ornamented marble
loggia, filled with statues of the same material, and
richly ornamented with copper. This gallery is known
to have been erected from the designs of Steenwinkel.
Christian seems to have had no idea of allowing the
artists engaged in his service to remain unemployed,
for I find in one of his letters he sends orders “ to Hans
Steenwinkel to make at once two copper cheese-tubs,
the size of a common salver-dish ”—a strange order, at
which a royal architect of the present century would
be considerably affronted. In former days the
mullions of the windows were gilded; two or three have
been restored some years since — a barbarous taste,
imitated in later days by the Russian Empress at her
palace of Tzanko Celo.
Turning to the right, we now enter the chapel through
its highly-wrought doorway. The sacred edifice is long
and narrow, too narrow perhaps for the beauty of its
proportions, and is surrounded by a gallery: it is gorgeous
in Renaissance fret-work, gorgeous in its gilding and
colour, all of which tone down together, one with
another, into a harmony which commands your admiration.
The royal closets below are of exquisite marqueterie;
the high altar a chef-d’oeuvre of ebony, mother-o’-pearl,
and goldsmith’s work; the pulpit a gem of richness.
Above, adjoining the organ, richly carved, painted, and
gilded—all in character with the building—is the royal
closet, lined with ebony, marqueterie, and empanelled
pictures by Dutch artists of merit (Peter Lastmann,
A. von Neelland, Werner van der Falkaert, and Peter
Isaacs)—chiefly sacred subjects, with the exception of
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