Chambers's Edinburgh Journal, No. 307: New Series, Saturday, November 17, 1849 — John Shaqi
Chambers's Edinburgh Journal, No. 307: New Series, Saturday, November 17, 1849Various
History
Chambers's Edinburgh Journal, No. 307: New Series, Saturday, November 17, 1849
Various
Periodicals
château, and be told that the king lived in it, seeing as we did no
trace of any state or pageantry whatever, and scarcely any mark of the
place being inhabited at all, raised some curious speculations in our
minds as to the change of the relations of monarch and subject since
the days of Christian IV.
The grand sight of Fredericksborg is the royal chapel, forming the
lower floor of one side of the square. It is a superb specimen of
that mixture of Grecian and Gothic which prevailed at the end of the
sixteenth century; no grandeur of plan, but infinite ornament of
detail, gilt reliefs (especially on the ceiling), carvings, and fine
inlaid woodwork. The pulpit has pillars of silver, and the altar-piece
glows with golden images and sculptures. 'The Swedes,' says Feldborg,
'took away twelve apostles in silver, leaving the figure of Christ,
which was formed of the same metal, to preach the Gospel at home, as
they wickedly expressed themselves, but declaring that his apostles
should do so abroad.' The screened recess for the royal family still
contains a range of chairs with wrought seats, which must be coeval
with the chapel, as they contain Christian's initials. There is even
still the same charity-box at the door, into which this grand old
prince must have popped his donations as he passed to worship; for
it, too, bears his initials. The coronations of the Danish kings take
place here, and this has led to an unfortunate modernisation being
effected at one end of the chapel for the accommodation of the throne,
with seats for the knights of the Order of the Elephant. In every
other particular it is preserved exactly as it was in the days of
the founder. I may remark that the shields of the living Elephantine
knights adorn the gallery. When they die, these symbols of their glory
are removed to a clean, well-kept crypt beneath one of the angles of
the palace, where the whole series for the last two centuries may be
seen. This is at once a curious historical study and a touching lecture
on the transitoriness of all human grandeur.
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