Copenhagen Home of the Little Mermaid
Almost everyone who comes to Copenhagen visits the little mermaid harbour. Hans Christian Andersen’s popular fairy tale is about a young mermaid willing to give up her life in the sea and her identity as a mermaid to gain a human soul and the love of a human prince.
Love is impulsive. In the end, the unhappy mermaid looks on mutely as her beloved gives her up in favour of a real woman. In Andersen’s fairy tale, the little mermaid throws herself into the sea, dissolving in the foam. Today, the bronze mermaid sculpted by Eric Eriksen sits on a rock on the harbour at Langelinie Pier.
Vandals have attacked the statue on several occasions, but luckily, city officials keep the original bronze moulds in a safe location. Identical replacement parts are always available to keep the tourists happy.
When Denmark became a kingdom in the tenth century, what would later become the great city of Copenhagen was a small, non-descript fishing hamlet named Havn. Located at the entrance to the Baltic Sea, its central location attracted the attention of the Danish crown. Recent archeological finds indicate that by the 11th century, Copenhagen had already evolved into a small town with a large estate, a church, a market, at least two wells and many smaller habitations spread over a fairly wide area.
Havn was transformed virtually overnight into an important trading hub. The building of Slotsholm Fortress in 1167 is usually said to be the catalyst for the city’s founding. Three years later, Copenhagen was given its current name, which in Danish means “merchant’s harbour”. In 1443, the emergent city became the official capital of the Kalmar Union of Denmark, Norway and Sweden. When the union disbanded in 1523 it became capital of the Kingdom of Denmark.
Amalienborg, the famous winter palace of the Danish royal family, stands on a broad, paved, octagonal plaza. Four nearly identical palaces were built along the four diagonal sides of the octagon. At the centre of this beautiful rococo complex, one of the loveliest in Europe, is an equestrian monument honouring King Frederik V. A changing of the guard takes place outside the palaces each noon.
The best view of the Old City of Copenhagen may be from the wide platform on top of the Round Tower. Although the tower is only 36 metres high, the spiral staircase to the top winds around 209 metres. It was once possible to ride to the top on horseback, as Peter the Great did when he visited.
Unfortunately, horses are now banned from the tower. Trinity Church is adjacent to the tower, with the shopping districts of Stroget and Straedet nearby. Most of the Old City is off limits to vehicles, making it one of Europe’s biggest pedestrian zones. Christiansborg Palace is on the small island of Slotsholm, the site of the original fortress, which is today joined to the rest of the city by several bridges.
The palace was once home to the Danish royal family, and is now the seat of the Danish government and its parliament, the Folketing. This is the sixth building to stand here since the 1167 founding of the city. Invading armies, fires and modernization have all taken their toll. While the first castle on the site stood from 1417 into the late eighteenth century, rebuilding and renovation has been fast and industrious ever since.
The present Christiansborg was built in the early twentieth century. Accessible from every quarter of the city, Tivoli Gardens amusement park first opened on 15 August 1843. Visitors can take a trip in a small boat on the moats once used for Copenhagen’s defense or take a pleasant ride on the big wheel looking down at the city from on high. It has a new, zero-G roller coaster (”the Demon”) and twenty-five other rides, as well as many restaurants and concert venues.
The mime presentations in the Pantomimes are extremely popular. After 150 years of continuous operation, neon signs are still banned in Tivoli. Instead, more than 110,000 incandescent lanterns brilliantly illuminate one of Europe’s oldest surviving pleasure gardens. The white bulbs hung from trees contribute to Tivoli’s uniquely old-fashioned atmosphere, even as the roller Demon screams by.
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Piazza San Marco - One of Venice’s Most Elegant Squares
One of the world’s most beautiful squares, Piazza San Marco (St. Mark’s Square) is the heart of Venice, a vast open space bordered by an orderly procession of arcades marching toward the fairy tale cupolas and marble lacework of the Basilica di San Marco.
Perpetually packed by day with tourists and fluttering pigeons, it can be magical at night, especially in winter, when mists swirl around the lamp posts and the Campanile.
If you face the basilica from in front of the Correr Museum, you’ll notice that rather than being a strict rectangle, this square opens wider at the basilica end, creating the illusion that it’s even larger than it is.
The Piazza was paved in the late 13th century with bricks laid in a herringbone pattern. Bands of light stone ran parallel to the long axis of the main piazza. These lines were probably used to help set up market stalls and in organising frequent ceremonial processions. This original pavement design can be seen in paintings of the late Middle Ages and through the Renaissance, such as Gentile Bellini’s Procession in Piazza San Marco of 1496.
On your left, the long, arcaded building is the Procuratie Vecchie, built in the early 16th century as offices and residences for the powerful procurators of San Marco. On your right is the Procuratie Nuove, built half a century later in a more grandiose classical style.
It was originally planned by Venice’s great Renaissance architect, Sansovino, to carry on the look of his Libreria Sansoviniana (Sansovinian Library), but he died before construction on the Nuove had begun. Vincenzo Scamozzi (circa 1552-1616), a neoclassicist pupil of Andrea Palladio (1508-80), completed the design and construction. Still later, the Procuratie Nuove was modified by architect Baldassare Longhena (1598-1682), one of Venice’s baroque masters.
When Napoleon entered Venice with his troops in 1797, he called Piazza San Marco “the world’s most beautiful drawing room” and promptly gave orders to redecorate it. His architects demolished a 16th-century church with a Sansovino facade in order to build the Ala Napoleonica (Napoleonic Wing), or Fabbrica Nuova (New Building), which linked the two 16th-century procuratie and effectively enclosed the piazza.
Piazzetta San Marco, the “little square” leading from Piazza San Marco to the waters of Bacino San Marco (St. Mark’s Basin), is a landing that was once the grand entryway to the Republic. It’s distinguished by two columns towering above the waterfront.
One is topped by the winged lion, a traditional emblem of St. Mark that became the symbol of Venice itself; the other supports St. Theodore, the city’s first patron, along with his dragon. Between these columns the Republic traditionally executed convicts.
It takes a full day to take in everything on the piazza thoroughly; so if time is limited you’ll have to prioritize. Plan on one to two hours for the Basilica and its Pala d’Oro, Galleria, and Museo Marciano. You’ll want at least two hours to appreciate the Palazzo Ducale. Do take time to enjoy the piazza itself from a cafe table, or on a clear day, from atop the Campanile.
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