Stockholm Palace

About

Stockholm Palace, or the Royal Palace, (Swedish: Stockholms slott or Kungliga slottet) is the official residence and major royal palace of the Swedish monarch (King Carl XVI Gustaf and Queen Silvia use Drottningholm Palace as their usual residence). Stockholm Palace is in Stadsholmen, in Gamla stan in the capital, Stockholm. It neighbours the Riksdag building. The offices of the King, the other members of the Swedish royal family, and the Royal Court of Sweden are here. The palace is used for representative purposes by the King whilst performing his duties as the head of state. This royal residence has been in the same location by Norrström in the northern part of Gamla stan in Stockholm since the middle of the 13th century when Tre Kronor Castle was built. In modern times the name relates to the building called Kungliga Slottet. The palace was designed by Nicodemus Tessin the Younger and erected on the same place as the medieval Tre Kronor Castle which was destroyed in a fire on 7 May 1697. Due to the costly Great Northern War which started in 1700, construction of the palace was halted in 1709, and not recommenced until 1727—six years after the end of the war. When Tessin the Younger...

The first building on this site was a fortress with a core tower built in the 13th century by Birger Jarl to defend Lake Mälaren. The fortress grew to a castle, eventually named Tre Kronor for the core tower's spire top decorated with three crowns.

At the beginning of the 17th century, King Gustavus Adolphus made plans for a new royal palace. The plans came to naught, but in 1651, his daughter Queen Christina appointed Jean de la Vallée to architect for the royal castles, and among his commissions was to make suggestions for how to improve and update the Tre Kronor Castle. Contemporaneous copperplates from 1654 shows de la Vallée's idea of a more visible castle on a raised plateau with a connecting bridge over the Norrström. Queen Christina remodelled and embellished the existing castle extensively, but no new castle was built during her reign.

From 1650 to 1660, Jean de la Vallée made suggestions for large conversions of the castle, but it was not until 1661, when Nicodemus Tessin the Elder became City Architect and Architect for the Royal castles, that more substantial plans for a new castle were made. In 1661, he presented the first draft for a conversion of the northern row which his son, Nicodemus Tessin the Younger, would later rework and realise in 1692 to 1696.

A map of the Stadsholmen from the 1650s, illustrates de la Vallées suggestion for the conversion of the old castle. The project also brought about an adjustment of the Slottsbacken, making it partially enclosed by buildings. Of interest are Tessin the Younger 's additions in pencil on that map, probably made at the end of the 17th century. There is an early sketch for the northern façade's west wing and the two curved wings enclosing the outer courtyard (both executed). Tessin the Younger also made plans for the city area west of the palace with large stairs in false perspective where the Axel Oxenstierna palace, among other buildings, are and joining the Västerlånggatan in addition to a wide street to the present Mynttorget, straight though the city block with the present Brantingtorget (not executed). He had envisioned a line of sight from the center of the palace, westwards to the Riddarholmen.

The northern row of the present palace was built in 1692, in just five months as a part of the old Tre Kronor castle. The new row had the same austere Baroque style that still remain, contrasting with the rest of the Renaissance castle.

At an early stage of the conversion in the 1690s, a number of elderly Swedish artists such as David Klöcker Ehrenstrahl and Johan Sylvius, were still alive and they contributed with artistic work to the completion of the northern row, in particular to the Royal Chapel. Ehrenstrahl made the large religious paintings and Sylvius painted the plafond.

A model for the austere Roman baroque style, including a relatively strict regularity and symmetry, was the Palazzo Farnese in Rome, where the architect in charge of the conversion, Nicodemus Tessin the Younger, went to study buildings in 1688.

The walls surrounding the storages, stables and workshops of the Tre Kronor castle are now behind the Lejonbacken and in the basement of the northern row. Thus, Lejonbacken conceals the old windowless wall behind it. Older walls can also be found higher up in large parts of the northern row's façade walls. The walls from the former northeast and northwest square corner-towers for example, are thicker in this part of the palace's ground floor, since Tessin re-used the remaining walls and incorporated them in the new palace. About half of the old walls were used in that manner, since the ever frugal Charles XI had only reluctantly agreed to the conversion which started in 1690. Thrift and recycling were guiding principles at the building of the northern row. Hence, the construction proceeded rather quickly and after five months the new row was topped out and roofed. The new walls became higher than the old ones, except for the towers which were completely enclosed in the new walls. The Charles XI's Gallery is one more feature remaining since before the fire, all according to Tessin's plan.

A new Royal Chapel in the northern row was inaugurated at Christmas in 1696, and a new Hall of State was also planned there. The chapel was to replace the old castle chapel that had been erected by John III in the same location by the old storages and stables at the Tre Kronor castle.

Building the new chapel with the same proportions as the old one and making it fit within the walls of the old chapel, with a retained high ceiling inside the walls of the former northeast tower (now the northeast corner of the palace), proved difficult for Tessin if he was to be able to adhere to the austere Baroque style where all the windows ought to be the same size, and placed in precise rows despite what rooms were behind them. To achieve this, Tessin added a mezzanine floor with smaller square windows just above the lower row of windows. These smaller windows now encircle the whole building, a remnant of the first castle chapel. After the fire, when Tessin could make more substantial alterations, the Royal Chapel and the Hall of State were placed in the southern row instead, and the furniture and inventories, such as benches, household silver and decorations are to some extent preserved in the present-day Royal Chapel.

According to a plan from before the fire, the palace was to be in a square shape without any wings in austere Roman Baroque style, essentially with the rest of the rows looking like the northern row. This suggestion is not preserved, historian Boo von Malmborg suggests that this was probably because Tessin did not dare to present his comprehensive plans to the economical Charles XI.

The new building is depicted in five engravings in the Suecia Antiqua et Hodierna printed in 1695 to 1702: picture No. I.19 the new northern façade of the castle including the Lejonbacken and the square courtyard, picture No. I.20 the new chapel's interior, picture No. I.21 the chapel's exterior, picture No. I.27 view of the Hedvig Eleonora Church and picture No. I.32 view from the Kungsträdgården. Lejonbacken, which was to lead up to the north gate from the east as well as from the west, was never completed before the fire and is only mentioned in the drawings.

On 7 May 1697, a great castle fire occurred, prompting the building of the present Stockholm Palace. The fire ruined most of the earlier fortress, the Tre Kronor Castle, except for the sturdy, recently constructed walls of the northern row, most of which are still standing. Unlike the rest of the castle, the walls of the northern row could be repaired.

The first phase of building the new palace 1697–1709

After the fire, the Regency Council of King Charles XII under the direction of the Queen dowager Hedvig Eleonora of Holstein-Gottorp at the Karlberg Palace that a new castle should be built on the walls of the burnt castle. Nicodemus Tessin the Younger was the architect appointed to draw and build the new Stockholm Palace. At the same time that Tessin's plans were approved, he was appointed head of the construction of the palace as part of his new position: Överintendent över de Kungliga Slotten (Superintendent of the Royal Castles), a kind of castle architect. Göran Josuæ Törnquist (later ennobled Adelcrantz) became the Assisting intendent and his deputy, an important position at the construction site, and Hans Conradt Buchegger became general contractor for the palace construction. In 1697, Abraham Winantz Svanssköld, Tessin's half-brother, was appointed deputy castle and court architect. Together with Tessin he was active at the palace construction, and they were helped by several German journeymen. Important sculptors and craftsmen during the first years of the construction were, among others, René Chauveau, Bernard Foucquet the Elder and his son Jacques Foucquet.

Tessin presented the first finished plans for the new palace within the year of the fire. First, the remnants of the old castle were razed, practically everything was demolished save for parts of the northern row with its strict Baroque, that were still standing. The demolishing was performed by approximately 300 men from mid-May 1697 to mid-spring in 1700, when the remains of the old keep Tre Kronor were re-used as filling for the Lejonbacken. Consequently, most of the material for the new palace was new.

When Tessin got the commission to design the new palace, he abandoned parts of his earlier plan about building a square palace and added the lower wings flanking the palace in the east and west.

This was made to give the palace a more monumental look and this could be executed since there was now more open land in which to expand the palace such as the western area where King Gustav Vasa 's moat and cannon mounds had previously been. The southwest wing had to be made shorter since the Storkyrkan was in the way. This asymmetry, created by the different lengths of the wings, was compensated by adding the two detached, semicircular wings for the Royal guards and the Commanders, west of the main building. These wings encircle the courtyard. Tessin's plans and commissions to artists still characterizes the façades, walls and stone pilasters as well as walls, floors, pillars and pilasters inside the palace, such as in the Hall of State, the Royal Chapel and the stairwells.

The building of the palace went on with great intensity during the reign of Charles XII, but the costly campaigns during the Great Northern War were impedimental. Charles XII lost at the Battle of Poltava in 1709, and that year the building of the palace came to a complete halt. At that time, the courtyard had been leveled and the courtyard walls were erected to the height of one floor in the south and east part and half a floor in the west part. The palace remained in that semi-finished state until 1727, when the Riksdag granted funds to continue the work. This was one year before Tessin died.