The Royal Danish CollectionAmalienborgThe PalaceInterior and objectsThe Pompeian Chamber
Beletage

The Pompeian Chamber

This room is included in the special exhibition Frederik X: King of Tomorrow until 8 September 2024. Therefore, you will not be able to see the room in the state that is described on this page until autumn/winter 2024.

The Pompeian Chamber was used as a bedroom by Hereditary Prince Frederik and by both of Christian VIII’s wives, Princess Charlotte Frederikke and Queen Caroline Amalie.

The room gained its current decoration as a result of Prince Christian (VIII) and Princess Caroline Amalie’s travels in Italy, on which they saw the excavations of Pompeii. On the background of this the couple in 1836 had the decorative painters G.C. Hilker, H. Eddelien, and C. Købke decorate the bedroom in Pompeian style, which became a widespread stylistic phenomenon in Europe.

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Relations

Dolphin door handles

Handles found on the inner side of the doors in The Pompeian Chamber.

Wall decoration

Flora, who is the goddess of flowers and the spring, floats gracefully on the wallpaper.

The Royal Representation Rooms

The piano nobile features some of Amalienborg’s most beautiful interiors and is used for official functions by HRH Princess Benedikte as well as TRH Prince Joachim and Princess Marie. Large parts of the piano nobile were created by the painter Nicolai Abraham Abildgaard (1743-1809), who mastered several arts. He was responsible for renovating the palace following the royal assumption of Amalienborg, as a result of the fire at Christiansborg, in 1794. The palace, which was originally known as Levetzau’s Palace after its noble owner, was taken over by Hereditary Prince Frederik (son of Frederik V and Queen Julianne Marie) and his wife, Hereditary Princess Sofie Frederikke. Their son Christian VIII later resided in the palace, which later became known as Christian VIII’s Palace. Abildgaard’s interiors are neoclassical in style and characterised by columns, pilasters, straight lines, and strict symmetry with a fairly bold choice of colours – both by the standards of the time and today. Parts of the interiors were recreated according to Abildgaard’s watercolour sketches of the decor during a thorough renovation of the palace in the 1980s.