Discover Amalienborg Palace and Museum

We have already explored the impressive courtyard at Amalienborg Palace, the official home of Denmark’s royal family. Today, Mum and I leave the boys behind and set off for a morning of sightseeing.

The drizzle follows us onto the big red sightseeing bus as we make our way across Copenhagen. We pass the Carlsberg Glyptotek, one of the city’s art museums that I have been keen to visit. We catch glimpses of the impressive sculptures outside before continuing through the grey morning streets.

When we reach Amalienborg, we cross the grand palace courtyard and head straight inside. The rain is getting heavier, so the timing couldn’t be better! We pay a small admission fee and encounter no queues. Before long, we find ourselves in the Antechamber, surrounded by portraits of Denmark’s royal family, both past and present.

The Antechamber

During the first half of the 19th century, Christian VIII and Queen Caroline Amalie, the first royal couple to reside here, used this elegant room as their study. Today, however, it is the portraits of a rather remarkable royal family that capture my attention.

These are the children of Christian IX and Queen Louise. Later, their advantageous marriages into Europe’s most influential royal houses earned their parents the nickname the ‘Father-in-law and Mother-in-law of Europe’. Looking at their childhood portraits, it is fascinating to consider just how far these young princes and princesses would eventually travel, both geographically and in royal standing.

Prince Frederik, pictured here at the age of nine, was the eldest of the six children. He would eventually succeed his father as King Frederik VIII of Denmark in 1906, at the age of 62. Above him is his younger brother, Prince Wilhelm, aged just eight. In 1863, Wilhelm was elected King of Greece, taking the name George I and establishing a royal dynasty that would rule the country for generations.

The youngest daughter, Princess Thyra, is pictured here at just four years old. She would later marry Ernest Augustus, Crown Prince of Hanover, becoming the Duchess of Cumberland following his succession to the title. The two eldest daughters, Princess Alexandra and Princess Dagmar, are depicted at twelve and nine respectively. Their futures would be particularly extraordinary. Alexandra married the future Edward VII of Britain and became Queen Alexandra, while Dagmar married the future Tsar Alexander III of Russia, taking the name Maria Feodorovna and becoming Empress of Russia.

A Succession of Danish Kings

It is quite extraordinary to look at these youthful portraits and realise that they would eventually become a Danish king, a Greek king, a British queen and a Russian empress. Their family connections reached across the great royal houses of Europe, giving Denmark an influence that extended well beyond its relatively modest size.

By this point, I find myself getting a little lost amongst all the Frederiks and Christians! A quick look at the succession helps put the portraits and their family connections into context. Denmark’s modern royal history follows a particularly memorable alternation between the two names:

• Frederik VI (1808–1839)
• Christian VIII (1839–1848)
• Frederik VII (1848–1863)
• Christian IX (1863–1906)
• Frederik VIII (1906–1912)
• Christian X (1912–1947)
• Frederik IX (1947–1972)

The pattern continues with Queen Margrethe II (1972–2024), followed by the present King Frederik X, who ascended the throne in January 2024.

Looking at the portraits again, I am struck by how much history is contained in one family. What began as a collection of childhood portraits becomes a fascinating glimpse into the dynastic marriages, alliances and personalities that helped shape Europe’s royal history.

Frederik VIII’s Study

Next, we move into Frederik VIII’s study, furnished in the Renaissance Revival style that became particularly fashionable during the latter half of the 19th century. The room has a distinctly masculine feel, with imposing dark furniture and richly textured walls covered in imitation gold leather. Together, these elements create an atmosphere of traditional royal grandeur.

Interestingly, this is an approximate recreation rather than the original study. Following Frederik VIII’s death in 1912, the palace distributed many of the room’s original furnishings. The present arrangement recreates the character of the space, and I think it looks remarkably convincing, although I’m certainly no expert!

The colour scheme of rich yellow and red also carries a fascinating historical significance. The palace chose these colours to reflect the royal family’s connection to the House of Oldenburg. This dynasty’s direct male line ended with Frederik VII in 1863, when Christian IX succeeded him, establishing the House of Glücksburg on the Danish throne. The Glücksburg family belonged to a junior branch of the wider Oldenburg dynasty, making this visual connection particularly meaningful.

A small statuette of Christian IV, arguably the most celebrated king of the Oldenburg dynasty, reinforces this historical link. It’s a thoughtful detail that adds another layer of meaning to what might otherwise seem like simply an elaborate royal interior.

Inside the Royal Dining Room

Next, we step into the dining room, a much more intimate space than the grand royal reception rooms. In fact, it feels surprisingly homely, almost like stepping into the private family life of the Danish monarchy.

The room looks remarkably similar to how it did when Christian X and Queen Alexandrine lived here. They moved into the palace shortly after their wedding in 1899 and remained until their deaths in 1947 and 1952 respectively. The dining table, chairs and china cabinet retain much of their original arrangement. This detail gives us a wonderful glimpse into their everyday lives.

I particularly like the decorative plates displayed along the walls. These were among the couple’s wedding presents in 1898 and include a complete, bespoke collection from Royal Copenhagen. Each plate features scenes from Randers and the surrounding countryside, commemorating Christian’s time there as a young soldier.

It’s a lovely personal touch. Rather than simply displaying lavish gifts befitting a royal wedding, these plates celebrate a place that held special memories for the young prince. These little details often tell us more about the people who lived here than the grand furnishings ever could.

Queen Louise’s Salon

A little further on, we enter Queen Louise’s private salon, the wife of Christian IX. Sumptuous yet rather crowded (as seen in the photograph at the beginning of this post), the room was altered several times during her lifetime. Furniture was reupholstered, new curtains installed and fresh decorative objects added.

Photographs and paintings of the royal family feature prominently throughout the room. Queen Louise particularly loved displaying images of her children and grandchildren, many of whom had married into other European royal families. She often used the salon to write letters to her far-flung relatives, maintaining close contact with the wider European royal circle.

Louise was also a talented needlewoman and spent many hours pursuing her hobby here. It is easy to imagine her settling into this comfortable space, surrounded by family portraits and her sewing, while keeping in touch with relatives across Europe.

Christian IX’s Study

This study is filled with the decorative details of the Victorian era: treasured trinkets, rich draperies, heavy curtains and elaborate tassels. Much of the furniture and furnishings came from Christian IX’s study at the Yellow Palace, where the family lived before he became king. Many pieces, however, date from his reign.

The numerous family photographs are particularly interesting. Photography was still relatively expensive, making portraits a sign of status as well as a personal keepsake. They also reveal Christian IX’s devotion to his family and reinforce his reputation as the ‘Father-in-law of Europe’. With children and grandchildren married into several European royal houses, his family connections extended across the continent.

Amalienborg itself has a fascinating history. The four palaces were built in the 1750s, following the destruction of the earlier Sophie Amalienborg summer palace in a fire in 1689. The royal family moved here in 1794 after Christiansborg Palace was destroyed by fire. Although Christiansborg was subsequently rebuilt, the monarchy remained at Amalienborg.

One of the palace’s most distinctive features is its four separate residences arranged around the central square. This unusual arrangement allows the monarch, the heir to the throne and other members of the royal family to maintain separate households within the same palace complex. It is a practical arrangement that has served the Danish royal family remarkably well for more than two centuries.

Oscar’s

By now we have learnt a great deal about the history and life of the Danish Royal families, without any sightings of Fred & Mary or indeed Queen Margarithe. We are in need of a rest. We exit the palace grounds towards the Marble Church (Frederik’s Church, although which Frederik is unclear) and walk back towards Kastellet to find the cosy Oscar’s for a coffee.

After our coffee, we enjoy glimpses into pretty little courtyards along Bredgade that are part of Frederiksstaden – the town plan that included Amalienborg as the centre. We make our way back towards the apartment to pick up the boys for an afternoon outing to the National Museum.

Would I Return?

No. Not unless I had a reason to visit. This is a small museum and is interesting enough but it is a museum within the Amalienborg Palace (slot) and, not a tour of the royal residences. It gives some insight into history and culture, particularly of the royal family but as far as palaces go, there is not enough here to warrant a further visit. That is, unless I am invited to tea with the Queen.

For visitors information see Amalienborg Palace & Amalie Garden website.