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1. Portrait of Christian V. C. 1685, Jacob d’Agar. The King is portrayed in a fashionable French style. Dressed in armour and a tall allonge wig, Christian V appears as a Danish Sun King with a drapery behind him and a view to nature. Louis XIV had a portrait painted in a similar pose.
2. Portrait of Christian V. C. 1690, Jacob d’Agar. The artist seems to have developed his style during the five years that passed since he painted No. 1. With his anointment robe around him, the King is radiating a relaxed and mature worthiness. There is a more pronounced realism in this portrait, although it is obviously idealized.
3. Portrait of Christian V. 1696, Jan Frans Douven. The Dutchman Douven (1656-1727) was sent to Copenhagen at the behest of Emperor Leopold I to paint the King and his children — in particular his daughter Sophie Hedevig, who was a potential wife for the Emperor’s son.
4. Portrait of Christian V. with the regalia. 1670s, Abraham Wuchters. Sketch for a full figure portrait of Christian V, which was never completed. The King is seen in an outfit similar to the oval portrait, but with the marshal’s baton in his right hand. Behind him are the regalia.
5. Portrait of Christian V. C. 1671, Abraham Wuchters. The oval portrait set a standard for portraying the King which was copied extensively for many years. Christian V is seen in armour with his anointment robe. Across his shoulder hangs the Order of the Elephant on its blue silk sash.
6. Portrait of Peder Griffenfeld. C. 1672, Abraham Wuchters. Peter Schumacher (1635-99) was an incredibly gifted son of a bourgeois family who became the most prominent official in the early years of Christian V’s reign, and was ennobled as Count of Griffenfeld. The King, however, decided in 1675 to imprison his favourite for life, based on a disputable charge for treason. Griffenfeld is portrayed in a dressing gown in accordance with the latest Parisian fashion.
7. Portraits of Christian V. og Charlotte Amalie. C. 1675, Abraham Wuchters, on loan from the Danish National Gallery. The sketch of the King may have been made as a study for a civilian portrait. It is
colouristically refined, with warm colours and a bright red sash. In the sketch of Charlotte Amalie her red mouth catches one’s attention.
8. Two miniature portraits of Christian V. C. 1675, attributed to Abraham Wuchters. The square example is on loan from SMK. During the reigns of Frederik III and Christian V, miniature portraits had a heyday, and were often given to people as a special honour. In this tiny format Wuchters dared to depict the King less flatteringly than he otherwise did.
9. Three miniature portraits of Christian V.1674, Paul Prieur (2 examples); 1693, Josias Barbette. Paul Prieur painted many miniatures of the young Christian V after Abraham Wuchters’ template portrait. Josias Barbette, who painted the elderly King, was a Calvinist like Jacques d’Agar, after whom the miniature is copied.
10. Miniature portriats of Christian V and Hans Leth. Ca. 1675, C. 1675, attributed to Paul
Prieur after Wuchters. The royal portrait was a gift to the Court Confessor Leth (1625-88), given as a
sign of the King’s favour. Leth was also portrayed by Prieur in 1675. It is not known whether Leth gave the King his own portrait in return.
11. Miniature portraits of Christian V and Queen Charlotte Amalie.C. 1690, Josias Barbette after d’Agar. Barbette was one of the many Calvinist artists who enjoyed the Queen’s protection. He came to Copenhagen from Strasbourg in 1690, and painted several portraits of the royal couple and their children.
12. Two miniature portraits of Peder Griffenfeld. 1673/1675, Paul Prieur after Wuchters. Griffenfeld is portrayed as a Knight of the Elephant. The similarity to the corresponding portrait of the King is remarkable, and Griffenfeld has even dared to dress in ermine, which was usually a royal attribute.
13. Miniature portraits of Christian V og Queen Charlotte Amalie. 1672, Louis Goullon after Wuchters. The portraits are variations on Abraham Wuchters’ first official portraits, inset in costly gold capsules with the monograms in blue enamel on the reverse. Goullon is presumed to have been Flemish, but very little is known about him.
14. Ivory portraits of Christian V. and Queen Charlotte Amalie. 1693, Jean Cavalier. Ivory carving and turning was a priority at Christian V’s court, and a few medallion portraits are in the Royal Collection. Cavalier was one of many exiled French Calvinist artists who toured Europe, and he visited Copenhagen twice.
15. Ivory portraits of Christian V. and Queen Charlotte Amalie. 1683, Wilhelm Heinrich Wessel. The artist came from Northern Germany and was briefly employed at the Danish court in 1683-84. Medallion portraits like these mostly tend to idealize, but the portrait of the Queen seems to show a mature Charlotte Amalie without any beautification.
16. Ivory portrait of Christian 5. 1689, Joachim Henne. One of the finest portraits of the King. He is dressed in a cuirass and cloak, with his monogram on his shoulder. The Order of the Elephant is hidden under his armpit. Several of Joachim Henne’s masterful reliefs can be seen in the treasuries at Rosenborg castle.
17. Two ivory portraits of Christian V. 1693, Jean Cavalier; 1695-99, Gottfried Wolfram. Both of these carved portraits of the King in profile depicts him around the age of fifty with slightly plumper cheeks and a double chin. Several skillful artists were around this time working in ivory at Christian V’s court.
18. Christian V revived. 2020, Jim Lyngvild. As an experiment, Danish designer Jim Lyngvild has brought the deceased Christian V back to life with this lively bust, which is based on the King’s death mask — a cast copy of his actual face made in 1699.
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20. Agat goblet. C. 1620, Johann Kobenhaupt. The goblet is presumed to have come to Denmark as a present for Christian IV from the Duke of Württemberg. It was put up as a prize by Dowager Queen Sophie Amalie at the carousel of 1680 and won by her son, Christian V.
21. Three tournament prizes won by Christian V. 1670s and 80s, attributed to Paul Prieur. Two of the tournament prizes feature a rider as a motif, the third a shield. On the opposite sides are the monograms of the women who put up the prizes: Dowager Queen Sophie Amalie, Queen Charlotte Amalie, and Princess Ulrika Eleonore.
22. Carousel costumes. C. 1690. One of Christian V’s most magnificent costumes, embroidered with gold thread
and lined with embroidered silk, which can for example be seen in the turn-ups of the sleeves. The broad, knee-length skirt is made to lie beautifully across the saddle.
23. Rapier. 1686. Used by Christian V at a carousel at Gottorf Castle. The sword is in itself relatively ordinary, although it is engraved VIVAT CHRISTIANUS QUINTUS REX ET DOMINUS MEUS (long live Christian V, my king and master).
24. Two tournament pistols. C. 1685, Friedrich Ostermann. Used by Christian V for carousel riding. The pistols bear the King’s monogram and are richly decorated with gemstones and coloured glass, as well as five
cameo portraits of women.
25. Tournament curiass with elephants. 1680. Used by Christian V at the carousel on the occasion of Ulrika Eleonora’s wedding in 1680. Elephants were used in the second half of the 1600s as a symbol of the King, who therefore had this cuirass made with elephants on the shoulders and helmet.
26. Joust and spear. 1700s, on loan from the State Inventory. The lance was used to catch the ring and other targets, and a specific challenge was to break the lance as has happened with this one. The short spear (called a javelin) was thrown at its targets.
27. Sketch of carousel. Made by Christian V. To the left are listed the weapons that will be used, with numbers corresponding to the drawing to the right. Two teams, the red and the black, will compete against each other. Also illustrated are the columns of differing height.
28. Equipments for carousel riding. 1700s, on loan from the State Inventory. Heads could be made of both wood and papier mâché, and would look either african or osmanic like this one. The shield was worn by a rider on his back and used to throw balls at. To the right is seen a “ring” made for tilting.
Sketch for a carousel made by Christian V. The exercise is intended for two riders starting from each end of the track. 1 with lance, 2 with javelin (a throwing spear), 3 with pistol, 4 with pistol, 5 with rapier, 6 with rapier On the table below is an example of one of the many advanced courses used in
the carousel.
29. Twelve paintings of the carousel. C. 1690, unknown artist. The paintings show Christian V, Crown Prince Frederik (IV) and Prince Carl executing various disciplines at a carousel. Using a number of different
weapons, the aim was to ‘bring down’ the various trophies: rings, heads of wood or papier mâché, spheres, and more.
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30. Buffcoat. C. 1675. Worn by Christian V in the Scanian War. The sleeves are sewn of thinner leather with embroidered flowers and gold thread. The torso would be covered by a cuirass and is therefore not decorated in the same way.
31. Two flintlock short riffles. C. 1660-1680. At the Battle of Lund, Christian V was armed with a pair of short rifles made by Lorenz Helbe in Strasbourg. In the heat of the battle the King lost one of them, and many years later he had a local gunmaker produce a copy.
32. Buffcoat. C. 1675. Thick leather coat worn by Christian V in the Scanian War. It is lined with silk taffeta and features a rapier holder. On the tapestry to the left Ulrik Frederik Gyldenløve is seen dressed in a buff coat.
33. Rapier. C. 1675. Christian V may have carried this rapier into battle. The steel hilt is Danish, the blade is made by the Spanish swordsmith Tomas de Aiala. It combines the elegance of the small sword with the efficiency of the battle weapon.
34. Anchor. 1677. This small anchor had the honour of saving Christian V from shipwreck, when in October 1677 he ran into a storm in the Baltic Sea after having taken Rügen. Thomas Kingo wrote a poem in honour of the anchor.
35. Iver Hoppe’s signet ring. C. 1670. Captain and later Vice Admiral Iver Hoppe commanded the man-of-war Fredericus Tertius in the Scanian War. The ship took part in the Battle of Køge Bay on 1 July 1677 and sailed the King through a storm in the Baltic Sea.
36. Ivory releif featuring Christian V. 1676, Joachim Henne. The King rides a rearing horse flanked by Justitia (justice) and Pax (peace). Beneath the horse lies a satyr with a mask (falsehood) and a woman with snakes in her hair (envy).
37. Ivory releif featuring Christian V and Copenhagen. 1693, Gottfried Wolfram. The King wears a hat with a feather, and raises the baton in his right hand. Troops are depicted in the middle ground, and Copenhagen in the background. The three small towers farthest to the left must be Rosenborg.
38. Flintrock rifle. C. 1670-75, Paul Nielsen Norman. This rifle accompanied Christian V in the Scanian War. As with any gun of the time it operates with a flintlock, where a sprung arm with a piece of flint strikes a spark which lights the charge.
39. Flintlock musketoon. C. 1675, Thuraine. This short musket was used by Christian V during the siege of Wismar in December 1675. A musket is a muzzle-loaded gun, the barrel of which is smooth on the inside and therefore does not make the bullet rotate like a rifle does.
40. Baton. C. 1667-69. Christian V used this baton with a knob of gold and diamonds when he was crown prince. The baton is a simple symbol of authority, which helps to give clear commands.
41. Military emblem. C. 1680-90. Probably made as decoration for an officer’s coffin. Depicted on the plate are two kettledrums surrounded by various weapons: canons, rifles, lances and banners featuring Christian V’s monogram, as well as the Swedish Three Crowns.
42. Bulletbag. C. 1675. The bag features Christian V’s crowned monogram and was probably used during the Scanian War. A bullet bag was part of the standard equipment of the soldiers, who took tools to make bullets themselves in the field.
43. Pieces of Charles XI’s jacket. C. 1676-79. The jacket must have been intercepted by Christian V’s men on the way from Paris to Stockholm, where it was to have been finished. A matching cloak, which was probably sent by a different route, can be seen in the Swedish Royal Armoury.
44. Miniature portrait of Charles XI. C. 1680, attributed to Elias Brenner. Charles XI (1655-97) became King of Sweden at the age of five. In 1680 he married Christian V’s sister Ulrika Eleonora to secure and celebrate the peace between Denmark and Sweden after the Scanian War.
45. Flying fish made of rock crystal. C. 1580. A present given to Christian V as a symbol of submission after he captured the town of Wismar. The fish was cut at the Miseroni workshop in Milan, while the dish wash made in Southern Germany around 1640.
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46. Hunting goblet. Before 1703. The antlers of which this magnificent goblet is made probably stem from a stag which the King brought down. The antlers are mounted on a foot of gilt silver, and a large silver bowl is positioned between their points.
47. Christian V’s crop. 1690s. Crop with ebony handle, inlaid with silver. The silver knob is embossed with Christian V’s monogram. The crop came to Rosenborg after 1699, but does not bear traces of the same degree of use as the other.
48. Christian V’s ‘hunting elephant’. 1670’s, Paul Kurtz. Insignia of the Order of the Elephant with a non-precious stone. The tower has been made into a whistle. It is said that Christian V always carried the elephant on par force hunts and used it to give signals.
49. Christian V’s riding crop. Before 1667. Riding crop with a wooden handle, decorated with two gold mountings and four rings with diamonds. The crop shows signs of frequent use and a couple of gemstones are missing.
50. Long hunting knife. C. 1680. An impressive knife with an agate hilt and gilt detailing, which belonged to Christian V. Long hunting knives such as this one were used by the King to cut the animal’s throat.
51. Hunting set with rapier and knives. C. 1680. This French set was probably used by Christian V on his par force hunts. The rapier with an agate hilt can be used both as a dagger and a knife. The two small knives are meant for skinning.
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52. Two eqeustrian portraits. C. 1690, unknown artist. On the horse to the left is seen the King’s crowned monogram. A horse bearing the King’s stamp was not something one dared to steal. The King was involved in horse breeding with several different aims.
53. Drawing of copulating horses. 1650s. The drawing is thought to be by the hand of a very young Christian V. Lessons in draughtsmanship were part of his education, and the interest in horse breeding seems to have begun early.
54. Stud farm goblet. C. 1686, attributed to Johan Kohlmann. A tribute to the grace and potency of the horse. The goblet was likely made to commemorate the royal stud farm in Østrup, now Fredensborg. This was one of several stud farms under Christian V’s equerries.
55. Animal bone with bullet holes. 1676. It is said that Christian V, during a visit to the town of Varde, had to demonstrate that he was a good shot. A citizen held this bone in his hand and the King shot two holes in it. A verse about the event was painted on the bone.
57. Christian V’s death mask. 1699. The death mask was made as a plaster cast of the head of the deceased. This form was then used to make another cast in positive, so that the face of the King appears as it actually looked. Jim Lyngvild’s bust of Christian V is based upon this mask.
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58. Silver seal capsule. C. 1670, Jeremias Hercules. A seal capsule was used to protect a pendant wax seal. This example was made by the royal medalist around the time of Christian V’s anointment, and shows the King on the Throne Chair with the three lions in front of him.
59. The grand cross of the order of Danbnebrog w. collar. Copy from 1700s. It was said that the Order of Dannebrog was actually founded in 1219, when the Dannebrog flag fluttered down from the sky in Estonia. The Grand Cross therefore has a collar formed alternately of a C5 for Christian V and a W for Valdemar the Victorious.
60. The statues of the order of Dannebrog. 1693.The rules of the order determine who can be a member, and which requirements a knight must live up to. For example, if members made public appearances without the insignia of the order, they had to pay ten gold ducats to the poor in the town of Hillerød.
61. Elephant w. collar. First half of the 1700s. Insignia of the order with Christian VI’s monogram. Elephants were included on the collar of the insignia for the order of Virgin Mary that preceded the Order of the Elephant. The collar seen here was introduced with the new statutes of 1693.
62. The statues of the order of the elephant. 1693 (printed and bound in the early 1800s). Christian V’s rules of the “most outstanding order”. The Knights of the Order of the Elephant are here among other things instructed to wear the elephant as their sole insignia because it trumps all others.
63. The state coat of arms w. collars of the order. C. 1693, attributed to Josias Barbette. The new statutes of 1693 enforced that, on particular days, the insignia of the order had to be worn on a collar, which also had to encircle the knight’s coat of arms. Seen here is Christian V’s coat of arms.
64. Two copperplates w. habits of the order. C. 1693. The statutes of the Danish orders of chivalry of 1693 required that habits of the order be worn on special occasions. The King bears the Order of the Elephant’s habit on the upper drawing, and an unknown Knight of the Order of Dannebrog bears his habit on the lower one.
65. Staff of the marshall of the order. After 1808. The staff is decorated with a gold collar featuring Frederik VI’s crowned monogram, a tower, Christian V’s crowned monogram, a Dannebrog cross, the monogram of Valdemar the Victorious, and an elephant. The staff thus honours Christian V, though it is a more recent item.
66. Christian V’s knighthood jersey. 1679-1693 (date unknown). Silk woven with silver. The pattern consists of stars of the Order of Dannebrog, stars of the Order of the Elephant, and elephants framed by laurel vines. The jersey has been enlarged in several places.
67. Christian V’s knighthood coat. C. 1694. Silk velvet with forearms of white silk woven with silver, and stars of the Order of the Elephant sewn on with silver thread. Possibly sewn for the first festivity of the orders, which took place on 4 July 1694 at Frederiksborg Castle.
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68. Christian V’s anoinment in Frederiksborg palace chapel. 1671, Michael van Haven. Painting of the ceremony’s high point, where the King kneels before the altar and receives the blessing after having been anointed. This representation is not exactly true to the actual palace chapel, which is a narrow space.
69. Christian V on the throne 1671, Michael van Haven. Allegorical painting. The King’s robe is held by Justitia (justice) and Pietas (piety). The baldachin is carried by four gods: in front Neptune and Hercules,
at the back Minerva and Apollo. Fama, the goddess of fame, is seen above in a heavenly light.
70. Christian V with his sons. C. 1685, after Jacques d’Agar. The King is dressed as a Roman general, but wrapped in his anointment robe. He is surrounded by his three sons, Frederik (IV), Wilhelm, and Carl. An angel hangs in the drapery, holding a laurel wreath above the King’s head.