Full resolution (JPEG) - On this page / på denna sida - IV. Education and Mental Culture. Introd. by P. E. Lindström - 10. Fine Arts - Architecture. By [F. Sundbärg]; revised on the basis of information contributed by Ragnar Östberg, Carl G. Bergsten, and S. Curman
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48(5
iv. education and mental culture.
and fittings., with which old churches were supplied. — A German stamp
often marks the architecture of that age, especially in the case of the burghers’
houses, which are often architecturally elaborate.
The ne-xt period — that of the later baroque style — coincides with the Period
of Sweden’s Political Greatness, during the latter half of the seventeenth century.
Castles and palaces — in which the capital and the Malar provinces now
particularly begin to abound — are erected on patterns hitherto unknown, and the
previous more serious style merges into one of a lighter character, with impulses
chiefly derived from France, Italy and Holland. A grand, imposing design and
excellent proportions are traits distinctive of the edifices; but the details are
sometimes too negligently treated. The foremost architects of the time are
Jean de la Vallée (1620—96) and Nikodemus Tessin, the Elder (1615 — 81).
The former, amongst other things, completed the House of the Nobility — the
building most representative of the time in Stockholm — and erected the City
Court Buildings and other buildings in the capital. Amongst the latter’s
masterpieces should be mentioned the palace of Axel Oxenstierna, the Bank of Sweden,
besides other edifices in Stockholm, the main part of the royal palace at
Drottningholm, the castle of Borgholm in Öland, still surviving as a magnificent ruin,
the mansions of Eriksberg and of Skokloster, the latter carried out in
collaboration with de la Vallée, and other larger or smaller country seats, as well as the
Cathedral of Kalmar — in these he proves himself a versatile artist,
understanding how to give to architectural work, at one time a magnificent or serious
monumental character, at another delightfully rustic features. Drottningholm is
a luxuriant structure in French taste, but most of Tessin’s works are marked by
unostentations architecture after Italian models. This style was further developed
by his son, Nikodemus Tessin, the Younger, (1654—1728), who collaborated in
many of the later works of his father, and in this way arose the last epoch of
the Swedish baroque style. It is contemporary with the European rococo style,
but shows a somewhat deviating creative ideas and might be termed the
Tes-sinesque or the palace period.
The Royal Palace of Stockholm — a work of Nikodemus Tessin, the Younger —
was erected on the site of the old one, "Tre Kronor", after the fire in 1697.
The work proceeded during the greater part of the eighteenth century. This
monumental edifice has externally more in common with the mid and låte
Italian Renaissance style, than with contemporary architecture. The simple,
but brilliantly grand, design bears the stamp of perfection in every detail and
produces a powerful and arresting impression, which is intensified by the
building’s splendid position. The palace is, indeed, acknowledged to be, not
only the first architectural achievement of Sweden, but also one of the foremost
in the world. The effects Tessin knew how to bring out in the interior are
exemplified by the galleries and vestibules of the palace, among which those of
the south wing are especially striking by their fine composition, as well as by
his own mansion, with its Italian court-yard. Besides these, he has — in
Stockholm as well as in provincial parts — handed down to posterity a great
number of imposing works of architecture, amongst which are also to be found
churches.
Of the interios of the Royal Palace, several were added after the death of
Tessin; he did not live to see the completion of his masterpiece. These and
similar parts of the royal country palaces, the delicately designed operahouse of
Gustavus III — now pulled down, (the work of C. F. Adelcrantz, 1716—96,
who also designed the exquisite Norrbro leading to the Royal Palace) — the
Stockholm Exchange, by E. Palmstedt (1741—1803), and some church interiors,
amongst them the magnificent Palace chapel, constitute the chief productions
of the latter part of the 18th century in Sweden.
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