The Swedish Country House by Susanna Scherman – Excerpt
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Transcript of The Swedish Country House by Susanna Scherman – Excerpt
Introduction 6
TorpaVaumlstergoumltland 12Fiholm Soumldermanland 22
Skokloster Uppland 30StroumlmsholmVaumlstmanland 46Laumlnna Parsonage Uppland 54
StolaVaumlstergoumltland 62Loumlvsta Bruk Uppland 72
Stora Nyckelviken Soumldermanland 82Huvudsta Uppland 92
Hallunda Soumldermanland 102Maringrtes Haumllsingland 114
Heby Dalarna 126Gustav IIIrsquos PavilionHaga Uppland 136
SiggebohyttanVaumlstmanland 152Krusenberg Uppland 164
StjernsundNaumlrke 174YstegaringrnHillsta Haumllsingland 186Faringgelsjouml Gammelgaringrd Dalarna 196Troumlnouml ParsonageHaumllsingland 206
A Farm in Blacksta Naumlrke 212
Map 222Bibliography 223
Index 224
HALF-TITLE PAGE A door lock atFaringgelsjouml
FRONTISPIECE Detail of the paintingof the Chinese boat by LarsBolander in the ChineseDining Room at Stroumlmsholm
RIGHT Looking from the halldown the enfilade at Stola
Copyrightcopy2010SusannaSchermanPhotographs copyright copy 2010Aringke Eson Lindman
All rights reservedPublished in the United States byTheMonacelli Press a division ofRandomHouse Inc NewYork
Published simultaneously in theUnited Kingdom by Thames ampHudson Ltd London
TheMonacelli Press andM designare registered trademarks ofRandomHouse Inc
Library of Congress Cataloging-in-Publication DataScherman SusannaThe Swedish country house Susanna Scherman photographsby Aringke Eson Lindman ndash 1st edp cmIncludes bibliographicalreferences and indexISBN 978-1-58093-294-3(hardcover)1 Country homes ndash Sweden2 Interior decoration ndash Sweden3 Decoration and ornamentRustic ndash Sweden I LindmanAringke Eson II TitleNA7566S9S34 20107283709485 ndash dc222010015573
Printed in China
10 9 8 7 6 5 4 3 2 1First American Edition
wwwmonacellipresscom
Contents
Introduction 6
TorpaVaumlstergoumltland 12Fiholm Soumldermanland 22
Skokloster Uppland 30StroumlmsholmVaumlstmanland 46Laumlnna Parsonage Uppland 54
StolaVaumlstergoumltland 62Loumlvsta Bruk Uppland 72
Stora Nyckelviken Soumldermanland 82Huvudsta Uppland 92
Hallunda Soumldermanland 102Maringrtes Haumllsingland 114
Heby Dalarna 126Gustav IIIrsquos PavilionHaga Uppland 136
SiggebohyttanVaumlstmanland 152Krusenberg Uppland 164
StjernsundNaumlrke 174YstegaringrnHillsta Haumllsingland 186Faringgelsjouml Gammelgaringrd Dalarna 196Troumlnouml ParsonageHaumllsingland 206
A Farm in Blacksta Naumlrke 212
Map 222Bibliography 223
Index 224
HALF-TITLE PAGE A door lock atFaringgelsjouml
FRONTISPIECE Detail of the paintingof the Chinese boat by LarsBolander in the ChineseDining Room at Stroumlmsholm
RIGHT Looking from the halldown the enfilade at Stola
Copyrightcopy2010SusannaSchermanPhotographs copyright copy 2010Aringke Eson Lindman
All rights reservedPublished in the United States byTheMonacelli Press a division ofRandomHouse Inc NewYork
Published simultaneously in theUnited Kingdom by Thames ampHudson Ltd London
TheMonacelli Press andM designare registered trademarks ofRandomHouse Inc
Library of Congress Cataloging-in-Publication DataScherman SusannaThe Swedish country house Susanna Scherman photographsby Aringke Eson Lindman ndash 1st edp cmIncludes bibliographicalreferences and indexISBN 978-1-58093-294-3(hardcover)1 Country homes ndash Sweden2 Interior decoration ndash Sweden3 Decoration and ornamentRustic ndash Sweden I LindmanAringke Eson II TitleNA7566S9S34 20107283709485 ndash dc222010015573
Printed in China
10 9 8 7 6 5 4 3 2 1First American Edition
wwwmonacellipresscom
Contents
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Introduction 6
TorpaVaumlstergoumltland 12Fiholm Soumldermanland 22
Skokloster Uppland 30StroumlmsholmVaumlstmanland 46Laumlnna Parsonage Uppland 54
StolaVaumlstergoumltland 62Loumlvsta Bruk Uppland 72
Stora Nyckelviken Soumldermanland 82Huvudsta Uppland 92
Hallunda Soumldermanland 102Maringrtes Haumllsingland 114
Heby Dalarna 126Gustav IIIrsquos PavilionHaga Uppland 136
SiggebohyttanVaumlstmanland 152Krusenberg Uppland 164
StjernsundNaumlrke 174YstegaringrnHillsta Haumllsingland 186Faringgelsjouml Gammelgaringrd Dalarna 196Troumlnouml ParsonageHaumllsingland 206
A Farm in Blacksta Naumlrke 212
Map 222Bibliography 223
Index 224
HALF-TITLE PAGE A door lock atFaringgelsjouml
FRONTISPIECE Detail of the paintingof the Chinese boat by LarsBolander in the ChineseDining Room at Stroumlmsholm
RIGHT Looking from the halldown the enfilade at Stola
Copyrightcopy2010SusannaSchermanPhotographs copyright copy 2010Aringke Eson Lindman
All rights reservedPublished in the United States byTheMonacelli Press a division ofRandomHouse Inc NewYork
Published simultaneously in theUnited Kingdom by Thames ampHudson Ltd London
TheMonacelli Press andM designare registered trademarks ofRandomHouse Inc
Library of Congress Cataloging-in-Publication DataScherman SusannaThe Swedish country house Susanna Scherman photographsby Aringke Eson Lindman ndash 1st edp cmIncludes bibliographicalreferences and indexISBN 978-1-58093-294-3(hardcover)1 Country homes ndash Sweden2 Interior decoration ndash Sweden3 Decoration and ornamentRustic ndash Sweden I LindmanAringke Eson II TitleNA7566S9S34 20107283709485 ndash dc222010015573
Printed in China
10 9 8 7 6 5 4 3 2 1First American Edition
wwwmonacellipresscom
Contents
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
6
Introduction
On 23 July 1757 Carl Fredrik Adelcrantzarchitect Superintendent and Knight of theOrder of the Pole Starmade a speech to theRoyal Academy of Sciences in Stockholm Itwas a long and substantial speech about thevalue and utility of the fine arts ndash architecturepainting and sculpture This was the Age ofLiberty when Sweden was absorbed bythoughts that a vigorous domestic industryand the manufacture of handicrafts could helpthe country out of the economic crisis it wasundergoing and usher in new days of gloryArchitecture and interiors he argued werenot merely a matter of style or fashion also tobe considered was what each class was entitledto in terms of architectural status and whatimpact that right had on society as a wholeAt the top the king and the nobles were allowedto build great palaces with sumptuous interiorspaintings sculptures and so on This was agood thing since it provided work for hundredsof artists and craftsmen
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
The next class down on the social scale was the
bourgeoisie who wereAdelcrantz considered lsquoby nature
entitled to the same pleasures and comforts as the
noblemanrsquo they were enterprising practising trade and
crafts frommorning till night and so they deserved a
comfortable home with beautiful interiors andmodern
furniture Farmers could not expect the same standard
of living as the bourgeois but they could perhaps buy a
few beautiful objects and their desire for such things
would encourage them to work harder with their crops
and growmore for sale thus improving agriculture The
fact that people built and decorated their homes was
good for society but all should keep to the standards of
their class Adelcrantz argued that lsquoA nationrsquos strength or
weakness its assets exploited or left dormant the success
or failure of its trade its industriousness or laziness its
taste for the arts or its indifference ndash all are revealed in
the smallest things as well as in the greatestrsquo
These things included architecture and interior
features such as painted walls decorative canvas
applied to walls wallpapers ceilings fireplaces and
tiled stoves and that is what this book is about housing
in the country for members of the various social strata
from the Swedish Renaissance to the late 19th century
There are many similarities between the buildings and
interiors that the groups created for themselves but
there are also distinctive styles that reflect what was
considered suitable for the different types of house
and their inhabitants
For many centuriesmost people in almost all social
classes practiced some kind of agriculture and lived in
modest wooden houses often built of logs In the 14th
century however aristocrats started to build castles of
stoneAs these came to be used in rebellions their
construction was several times prohibited but in the
15th century building resumed in the form of what are
known as enkelhusborgar ndash rectangular stone buildings
with steep gables and high ceilings The oldest house in
this book Torpa (pp 12ndash21) was erected at this time
At first these houses had no internal decoration and
Introduction 9
became something that went on far awayApart from the
stone houses there were manors consisting merely of
houses and farm buildings built of logs arranged in a
closed square which could be defended against armed
attacks some of these belonged to aristocrats who
needed a place to stay on their large estates or when
travelling through the expanse of Sweden Such
structures remained common for a long time into the
first half of the 19th century even among peasants
Swedish architecture and interior design had long
been influenced by France and that influence became
direct in 1637 when the French architect Simon de La
Valleacutee (c 1600ndash1642) was summoned to the court of
Queen ChristinaWith him came Nicodemus Tessin
(1615ndash81) a military architect from Stralsund in
Pomerania Sweden was a new superpower in Northern
Europe successful on the battlefield and at home rich
and full of untapped resources In the Queenrsquos reign
(1632ndash54) the nobles came to own two-thirds of the
land and their numbers doubled to six hundred
families Palaces and town houses were needed like those
in France to ensure that powerful figures had a setting
that emphasized their wealthAn intensive period of
construction began and the nobles built large castles
some of themmagnificent such asMagnus Gabriel
De la Gardiersquos Laumlckouml and Carl Gustaf Wrangelrsquos
Skokloster Skokloster (pp 30ndash45) was the first castle
with separate suites for husband and wife on either side
of the hall on the Frenchmodel in Baroque style
In order to be exempt from tax houses had to be built
to a high standard Technology had evolved considerably
since the time of the stone houses built for defence
houses were now built of bricks fired in a kiln on the
farm and the farm labourers helped the builders New
roof-trusses were developed and a distinctive type of
roof called a saumlteritak or lsquomanor house roof rsquo ndash effectively
two roofs one above the other with a windowed
division between them called an lsquoItalianrsquo ndash became a
symbol of noble architecture in the countryside
Fireplaces were now sited not on the outer wall but
primitive hearths or none at all It was the all-powerful
church that had the resources to hire painters and
craftsmen
All that changed with the Reformation in the 16th
century The reign of GustavVasa who came to the
throne in 1523 and died in 1560 saw the end of the
Middle Ages Sweden became Protestant and the King
took over the power and properties of the Church
He and his sons initiated an intense campaign of
constructionOld castles were renovated and then new
ones were built Builders were sent for from abroad and
sumptuous interiors were created based onmodels
supplied by prints GustavVasa introduced the
Renaissance and the nobles too began to decorate and
embellish their houses The presence of iron ore has
always been a vital asset for Sweden and the King
reorganized its production leading to a vigorous
development in the mining districts In Uppland and
Bergslagen for example a special building tradition
grew up in the 16th and 17th centuries with manors
next to the ironworks and bergsmansgaringrdarna or farms
for the miners
The 17th century was the age of the aristocracy when
Sweden became a great force in Europe Gustav II Adolf
(reigned 1611ndash32) wanted to make the country into a
military superpower he organized the armed forces
introducedmilitary service and gave the nobles special
privileges exclusive rights to all offices and tax
exemptions In the Thirty YearsrsquoWar which broke out
in 1618 Sweden was largely successful The whole of
society was affected (many people made a fortune from
the war) as were culture and the arts The aristocrats
were given Crown land and the King expected them to
build impressive manors and to make agriculture more
efficient These tax-exempt estates or saumlterier numbered
more than a thousand The farmersrsquo positions were in
danger since power was now in the hands of the nobility
A period of transition began The stone castles had been
used as bases for internal strife now defensive features
first diminished and then disappeared completely as war
8 Introduction
against the main internal wall ceilings were decorated
with plaster or paint walls were covered with gilt leather
or tapestryA very important development was the tiled
stove gradually introduced in the course of the 17th
century it helped to revolutionize Swedish interiors
by making the rooms warm and comfortable The
large manor houses built in the 1600s were virtually
uninhabitable in the cold season with only fireplaces
for heat people lived in the wings and the central house
was used for entertaining
Manor houses built in the 17th century and up to the
middle of the 18th century were often in what is known
as the Carolinian style Sweden was ruled by a succession
of kings called Karl between 1658 and 1718 and the style
carried on for some time after that The houses are
characterized by a restrained classicismwith a touch of
Baroque the kings were always at war and lack of money
made the style austere Two grander houses in this style
are Stola (pp 62ndash71) and Loumlvsta Bruk (pp 72ndash81) The
use of wood as a buildingmaterial had amajor impact on
design as the overall size of a building and the size of its
rooms were determined by the length of available logs
The holdings of the aristocrats were reduced from c 1650
under Christina and Karl XI (1660ndash97) when through
the Reduktionen the Crown recovered its landsNobles
now lost half their estates and not until the 18th century
did they begin to buildmanors again
Priestswealthy farmers andminers lived in rather
similar buildings Their houses often took the form
known as parstuga literally a lsquodouble cabinrsquoor lsquodouble
roomrsquo a log house with a central entrance hall and a room
behind that flanked by two rooms ndash on one side a room
that could be used for social gatherings and on the other
side a kitchenThere were one or two small bedrooms as
well but usually everyone slept in the kitchen during the
winter close to the stove to avoid freezing to death (it was
very common to find that the water in which youwould
wash your hands was frozen in themorning) Peasants
lived very simplymostly in log housesmany without
even a chimney just a hole in the roof
ON PAGE 7 A classical door in the KnightsrsquoHall at Torpa
(see pp 16ndash17) added to the room c 1620Above it are
earlier wall-paintings with dolphins and architectural
details suggesting an elaborate Renaissance doorcase
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
12
Torpa Vaumlstergoumltland
Torpa Castle stands picturesquely reflectingthe waters of Lake Aringsunden It is a large houseof stone now painted white which makes itvisible from afar Themain front has irregularlyplaced windows of different sizes and risingabove the roof is a bell-tower painted in Falured indicating the presence of a chapel insideThe building is one of the oldest in Swedenenlarged and altered over the years Onemightthink today that this area in the middle of thewoods was always peaceful but the borderbetween Sweden and Denmark formerly ranhere presenting a constant risk of conflictand there were frequent peasant revoltsNevertheless the location was consideredattractive because of its nearness to the riversAumltran andViskan which favoured trade
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
20 Torpa
The oldest surviving element is probably the murals painted in
Renaissance style in the mid-16th century when the nobility had begun
to engage painters to decorate their houses Probably from the same
period are the paintings around the doors and windows ndash frames with
architectural motifs such as pilasters carrying an entablature with spheres
or dolphins The effect of a beamed ceiling is created with paint again
in blue-grey on the boards and strips of woodAmid the small-scale
acanthus fruits and flowers if we look very closely we can see two
portraits perhaps meant to represent the owners at the time Gustav
Stenbock and BeataMargareta Brahe Some of the paintings are hidden
behind later wooden doorframes painted to resemble more expensive
timbers These were probably added at the same time as the fireplaces
around 1620 and like them they have a strong classical character
The Kingrsquos Hall on the top floor of the 16th-century addition has a
ceiling with images of Roman gods and goddesses probably painted
around 1650
In the mid-1660s it seems work began on transforming the old kitchen
into a chapel Progress was slow and it was not consecrated until 1699
Castle chapels are not common in Sweden although from theMiddle Ages
some of the nobility had the right to hold religious services in their houses
with their own priests The chapel at Torpa with its very well preserved
Baroque interior is therefore a real treasure
OPPOSITE AND BELOW The chapel has a well-
preserved late 17th-century interior with a
peaceful and friendly atmosphere Lavishly
decorated pews for the family and their
guests are set left and right of the altar
where gilded sculptures of Faith and Hope
flank a painting of the Entombment ndash
believed to be booty brought back from
Germany during the Thirty YearsWar The
simpler pews further back were for servants
and peasants The carvings in Baroque style
and the pulpit are the work of the German
sculptor Hans Christoffer Datan who
perhaps followed Gustav Otto Stenbock
back to Sweden after the war The pulpit
is supported by an Atlas-like figure and
decorated with gilded ornament including
acanthus foliage
Torpa 21
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
114
Maringrtes Haumllsingland
Maringrtes is one of the finest farms in Haumllsinglandin the north of Sweden ndash way past the point atwhich according to an old saying oak crayfishand nobles should halt Farmers had long beenthe dominant class there next to pastors andofficers and in the 18th century the provinceflourished on the profits from flax and forestsIn the 19th century the farmersrsquo position insociety was challenged by other groups andthe extravagant houses that they built mayhave been designed to manifest their power
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Maringrtes 125
of logs fictive stonework was normally a feature of entrance halls In the
largest room on this floor there is a complete series of Dalecarlia paintings
with subjects from the Bible The people depicted are dressed in costumes
that were modern in the 1830s The scenes include houses several storeys
high of a type seen in many Haumllsingland paintings The lsquokurbitsrsquo or trees
in these paintings are of several types suggesting that at least two painters
worked together ndash typically a master and an assistant The word lsquokurbitsrsquo
was taken to mean lsquotreersquo in Hebrew used in Swedish Bibles for the tree
that God caused to shoot up from the ground to shade Jonah as he rested
The lsquokurbitsrsquo in theMaringrtes paintings lean over the people and give them
shade suggesting that the artist knew the story This type of painting
was common in the first half of the 19th century but religious subjects
were later abandoned in favour of more cheerful pictures of towns
and landscapes
The first floor has paintings of 1834
depicting various subjects from the
Bible with identifying texts above them
OPPOSITE The painting on the left shows
the Queen of Sheba visiting Solomon
The bed with its knotted pile cover is
contemporary with the paintings
ABOVE LEFT King Ahab demands the
vineyard of Naboth which was near
his palace Twomen are shown speaking
outside an enclosed garden with a vine
ABOVE RIGHT Aman and a woman carrying
a baby walk towards a lsquokurbitsrsquo the subject
is the Flight into Egypt
124 Maringrtes
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
126
Heby Soumldermanland
Heby is perched on a hill with a magnificentview over Lake Klaumlmmingen In this provincethere are some four hundredmanors due to therelatively short distance from Stockholm andthe rich agricultural landMany of themwerebuilt in the 18th century to designs by the verybest architects and with interiors by the bestcraftsmen preferably those who also worked inStockholm for the royal court From the mid-century onward the region saw a floweringof comfortable country houses ndash not smallbut not huge either with walls covered withpainted canvas often decorated with flowersor ornaments in Rococo style simple woodenfloors and tiled stoves themselves with prettydecoration There were always two wingsand they form an important part of thecomposition The manors were almost alwaysapproached down tree-lined avenues oftenvery long It was not unusual for an aristocratto own several manors each of themwith afarm land and frequently a large forest as well
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
174
Stjernsund Naumlrke
Stjernsund is situated on the headland joiningtwo lakes StoraVaumlttern and Alsen in thesouthernmost part of the province of NaumlrkeThis is a landscape of deep forests where thepresence of iron led to the establishment ofironworks and estates Earl Johan GabrielOxenstierna bought an estate here in 1637named it after himself and immediately builta house New owners came and went when thehouse was sold in 1785 it was dilapidated andold-fashioned so it was torn down and a newbuilding erected That building was intendedto reflect the status of Olof Burenstam ownerof the Skyllbergs and Sonstorps ironworksand it was to be absolutely up-to-date Butwas it beautiful
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 181180 Stjernsund
officially the owner in 1851He began renovation workwhich resulted
in some of the finestmid-19th-century interiors in SwedenThe style is a
mixture of late NeoclassicismNeo-Rococo andNeo-Gothic stylesMost
of the furniture in what is now the dining roomwas delivered by the
Stockholm cabinetmaker JohanWahlgren in 1852 Tragically the Prince
died in that yearwhen he was only twenty-five and he never saw the
finished interiorA few years later his younger brother PrinceAugust bought
the house and continued the renovation Stjernsundwas never a royal palace
it was the private property of members of the royal family until 1860when
it was acquired by the ironworksmanager Knut CasselHis family owned
it for nearly a hundred years and they preserved it with reverence
The interiors created for Prince Gustav are unique On the walls of the
large drawing room are paintings of Italian landscapes by the Hamburg
artist Fritz Hagedorn (who had worked for Oscar I in the Pavilion at
Haga) executed in 1848 after engravings in Carl Frommelrsquos Pittoreskes
Italien (1840) ndash Lake Nemi Terni the Cascata della Marmora in Umbria
theValley of Aosta and the Bay of Naples They are surrounded by a
striking turquoise colour below them is a dado skilfully painted to look
like stone The roomwas heated by two shiny white tiled stoves decorated
with Neo-Gothic ornament in relief installed at the end of the 1840s
Neoclassical doors leading to the entrance hall probably survive from an
earlier interior by Sundvall
The large drawing room is flanked by two smaller rooms with painted
decoration by Hagedorn the library and the small sitting room In
the library the walls are transformed into an illusionistic Neo-Gothic
pergola In the small sitting room Neo-Renaissance in style paintings
in light blue creamy yellow and gold make the room appear to have a
padded ceiling and walls the ensemble is very well preserved and the
colours retain their luminosity Hardly any other royal interiors of this
date survive which makes these particularly notable (They did not
find favour with the 20th-century ideal and some people may still find
it difficult to like them Such wall-paintings were common in the mid-
19th century for example in Haumllsingland perhaps if they were by a less
skilful hand than Hagedornrsquos we might find it easier to be charmed by
the result) The last room in the enfilade is the Royal Bedroom where
Queen Josephina the mother of Prince Gustav slept when visiting the
castle The interior is not preserved but the bed is still there with its
original hangings
Only the most important rooms were painted The rest were hung
with wallpapers that form a particularly valuable collection Prince Gustav
himself selected them in a store at Stora Nygatan in Stockholm They
are of very high quality and were probably made in FranceMost of the
patterns imitate textiles such as velvetmoireacute and chintz One technique
used was flocking the pattern is printed in adhesive and while it is still
The walls of the large drawing room have
paintings by the German artist Fritz
Hagedorn ndash here the Cascata della Marmora
and Lake Nemi On the left are a very
precious Gustavian bureau and armchairs
The sofa and chairs on the right are of the
1850s with their green silk upholstery they
look very pretty against the pink carpet
In what was the drawing room (now the
dining room) the white marble fireplace
and the overmantel mirror with its gilded
frame in Neoclassical style were designed
by Sundvall The paintings on the walls
also designed by Sundvall are still in good
condition but the polar bear has found its
final resting place on the floorMost of the
furniture was delivered in 1852 when the
house belonged to the descendants of
Karl XIV Johan
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund
Stjernsund 183
wet chopped wool or silk is sprinkled on it The most expensive papers
were hung in the rooms on the upper floor used by the Prince himself
where they were given a gold frame Finest of all is one with a magnificent
acanthus pattern in flock on a gold background In a simpler room there
is a less expensive but equally beautiful red flock paper embellished with a
wallpaper borderA wallpaper in the finest guest room close to the Princersquos
rooms imitates chintz with a winding pattern of what look like coral
beads enhanced with gold it is printed in a single colour from engraved
metal cylinders a technique patented by Jean Zuber (see p 171) and it has
been suggested that this paper was perhaps made by Zuberrsquos firmOn this
floor a long corridor runs the length of the buildingAt the end is a desk
where the guest could sit and write letters looking out over the lake
There is no evidence that the wings farther from the house were
designed by Sundvall and their interiors were decorated during the royal
period That to the north-east is called the PrincersquosWing as it was prepared
for Prince Gustav when the house was undergoing renovation It contains
several bedrooms with Neoclassical tiled stoves and wallpapers of 1849
in blue and grey tones creating a beautiful suite One bedroom has striped
wallpaper designed to look like moireacute silk first a pattern was impressed
on the paper to suggest the grain of moireacute silk and then the paper was
printed with colour and gold
OPPOSITE In the library the walls were
painted by Hagedorn in 1848 The room
has a nice mixture of furniture in different
styles assembled during Knut Casselrsquos
ownership after 1860 The large chandelier
is one of several at Stjernsund designed
for electric light a novelty in the late
19th century
ABOVE LEFT The small sitting room displays
a characteristically eclectic mixture of styles
The tiled stove is Neoclassical the painted
walls use Renaissancemotifs (as well as fictive
effects of upholstery) and the furniture is
Neo-Rococo of the 1850s This room has
scarcely been touched since it was decorated
ABOVE RIGHT A bedroom in the Princersquos
Wing has wallpaper imitating moireacute
silk hung in 1849A lace canopy shelters
the contemporary bed bought in 1852
in Stockholm
182 Stjernsund