Rococo

Rococo in Denmark was a short but significant phase in the 1700s architecture, gradually overtaken by Neoclassicism. Some works and interiors in Rococo style were still produced into the 1780s, alongside the rise of Neoclassicism. Despite its brief run, the period produced works of high quality, fully on par with international architecture of the time.

The word “Rococo” comes from the French rococo, derived from rocaille – meaning shell or rock ornament. It originates from roc (rock) and the Latin rocca (stone). This reflects a style that grew out of ornamentation before leaving its mark on architecture itself.

Origins of Rococo

The style arose in France after the death of Louis XIV in 1715. The heavy Baroque that had defined his long reign gave way to a taste for lightness and refinement. Rococo first appeared in the decorative arts, interiors, and furniture, before spreading into architecture.

In France, the style peaked in the 1730s and 1740s but was already in decline by the 1750s. In Denmark, however, Rococo flourished longer. It gained ground in the 1730s and remained prominent until the 1770s. Some Rococo-inspired works were even built into the 1780s, side by side with early Neoclassicism.

Characteristics of the Style

Rococo is associated with elegance, lightness, and grace. Ornamentation featured asymmetry, intricate curves, and motifs borrowed from East Asian art. Chinese and Japanese aesthetics, brought to Europe through trade, became important sources of inspiration – an influence often referred to as chinoiserie.

The difference between Baroque and Rococo lay less in building form than in expression. The Baroque was monumental and weighty, with ornament added like decoration. Rococo appeared lighter and more refined, with ornament more closely integrated into the whole. Still, decorations were applied in stucco, relief, or woodcarving rather than carved directly into masonry.

Rococo in Denmark

In Denmark, Rococo was both a continuation of and a reaction against the Baroque. Where the Baroque emphasized dark, dramatic effects, Rococo introduced brightness, refinement, and playful elegance.

Buildings were often conceived as elements within the urban space. Harmony in streets and squares was central, most clearly seen in Frederiksstaden in Copenhagen.

Townhouses were typically built with plastered facades, while larger mansions featured sandstone details or entire stone facades. Roofs were often mansard or hipped. Facades appeared simple, with ornamentation concentrated around windows, portals, and cornices.

Behind these modest exteriors, interiors often revealed lavish decoration. This can be experienced in Christian VII’s Palace at Amalienborg, where Rococo’s lightness and elegance are on full display.

Nicolai Eigtved – The Key Figure of Danish Rococo

The most influential figure in Danish Rococo was Nicolai Eigtved (also known as Niels Eigtved), born in 1701. He entered the profession unusually, beginning as a gardener before traveling abroad in 1723. He worked in Berlin, Dresden, and Warsaw, and studied architecture in Rome, Vienna, and Munich.

Returning in 1735, he was quickly appointed royal architect, becoming the chief promoter of Rococo style in Denmark.

His works include some of the most important projects of the period: Frederiksstaden, Amalienborg Square, the Prince’s Mansion (today the National Museum), the Royal Frederik’s Hospital (now the Design Museum Denmark), and the East Asiatic Company’s warehouse (now Eigtved’s Pakhus). He also designed country estates such as Sophienberg near Rungsted, Frederiksdal by Lake Furesø, and Turebyholm on Zealand.

Frederiksstaden – A Prestige Project

Frederiksstaden is the crowning achievement of Danish Rococo and one of the most cohesive urban plans in Europe. Initiated in 1749 under King Frederik V, it was linked to the Oldenburg dynasty’s 300th anniversary and driven by mercantile initiatives. It was conceived as a prestige project to expand Copenhagen and demonstrate royal power.

The district was laid out on strict geometric principles. Two axes, Amaliegade and Frederiksgade, intersect to form a symmetrical composition. At the center lies Amalienborg Square, while Frederik’s Church – later known as the Marble Church – anchors the western axis.

To ensure harmony, Eigtved established facade regulations. Windows and cornices had to align, buildings had to be constructed in brick, and facades had to follow shared aesthetic rules. The result was a district where houses resemble one another without being identical. This unity makes Frederiksstaden one of Europe’s finest Rococo ensembles.

Amalienborg – The District’s Centerpiece

At the heart of Frederiksstaden is Amalienborg Square, an octagonal plaza surrounded by four nearly identical palaces, set diagonally around the space.

Each palace is composed of an eleven-bay main block, two and a half stories high above a raised basement, flanked by two-story pavilions. The buildings appear harmonious and well-balanced.

At the center stands the equestrian statue of Frederik V, created by French sculptor Jacques-François-Joseph Saly and unveiled in 1771. It was financed by the East Asiatic Company, symbolizing the interplay of commerce, art, and monarchy.

Later, in 1794, architect C.F. Harsdorff added a Neoclassical colonnade when the royal family moved in after the fire at Christiansborg Palace. The colonnade linked the palaces and marked Rococo’s transition to Neoclassicism.

The Transition to Neoclassicism

From the mid-1750s, Rococo began to lose ground. The French architect Nicolas-Henri Jardin was invited to Denmark and introduced Neoclassical style, inspired by antiquity. He continued work on Frederik’s Church but in a completely new idiom.

This marked the end of Rococo in Copenhagen. Jardin had a decisive influence on architectural development, later carried forward by Harsdorff. Construction of Frederik’s Church was halted in 1770 and only completed in 1894 by Ferdinand Meldahl.

A Short but Significant Period

Rococo in Denmark lasted only a few decades but had a lasting impact. It bridged the heavy monumentality of the Baroque and the strict order of Neoclassicism.

With Nicolai Eigtved as its central figure, the style took on a distinctly Danish character, combining elegance, urban coherence, and refined design. Frederiksstaden and Amalienborg remain enduring testimonies, while many smaller buildings and interiors also bear its imprint.

Today, the period stands out as one of the most refined in Danish architectural history – marked by lightness, imagination, and architectural quality of the highest international standard.