Church of Our Saviour (Vor Frelsers Kirke)

A baroque icon in the heart of Christianshavn

The Church of Our Saviour rises above the canals of Christianshavn, its red‑and‑yellow brick walls and soaring tower instantly recognizable in Copenhagen’s skyline. Conceived when Christianshavn was laid out as an independent merchant town in the 17th century, the present church was built in the 1680s and consecrated in 1696. It stands on land reclaimed from the sea, its foundations resting on what was once seabed, a reminder of Copenhagen’s long history of shaping and defending its waterfront. From the outside, the church is a textbook example of Dutch baroque. The plan is a Greek cross, giving the interior a balanced, centralized feel. Pilasters in the giant Palladian order run the full height of the facade, lending a confident vertical rhythm. At ground level, the randomly patterned red and yellow tiles set it apart from the stricter brickwork of other royal buildings nearby, hinting at Christianshavn’s more mercantile, international character.

The spiral spire and the climb into the sky

What makes the Church of Our Saviour unforgettable is its 90‑meter tower and corkscrew spire, completed in the mid‑18th century. The octagonal, copper‑clad upper section is ringed by statues of the four evangelists before the staircase breaks dramatically to the outside. From here, the last 150 of roughly 400 steps twist counterclockwise around the spire, looping four times toward a gilded globe topped by a figure of Christ. Climbing the tower is as much psychological as physical. The interior stairs are steep and narrow, and as you emerge onto the external steps, the wind and exposure sharpen your senses. Each turn reveals more of Copenhagen: the bastions of Christianshavn, the old harbor, the modern skyline, and on clear days, the coastline beyond. This is not an ascent for those uneasy with heights, yet for many it is one of the city’s most vivid experiences.

An interior of symbolism, music, and royal grandeur

Inside, the church feels both luminous and theatrical. The high ceiling of the Greek‑cross nave draws the eye toward the main altar, installed in 1732 and designed as a dramatic baroque stage. It depicts Christ in the Garden of Gethsemane, flanked by angels, carved in rich detail and framed by columns and gilded ornament that reflect how closely church and monarchy were once intertwined. The great organ, built at the end of the 17th century, is one of the treasures of Danish sacred music. More than 4,000 pipes are arranged in an exuberant wooden case bearing the monogram of King Christian V. Below, carved elephants shoulder the instrument, a reference to the Order of the Elephant, Denmark’s highest chivalric honor, and to the strength expected of the absolutist state. When the organ fills the nave, it links the present congregation directly with the soundscape of three centuries ago.

Carillon melodies above a working parish

Beyond its architectural spectacle, the Church of Our Saviour remains a living parish church. Regular services, baptisms, and weddings anchor it in local life, and periods for quiet reflection alternate with moments when the building is filled with music. A 48‑bell carillon housed in the tower rings out over Christianshavn, playing melodies through the day and offering an aural counterpart to the visual drama of the spire. Concerts and special musical events make full use of the acoustics and the historic organ, while the tower operates with timed entry to protect the fragile structure and manage the narrow stairways. In stormy, icy, or very windy conditions, the exposed sections of the spire may be closed, underlining that this is a historic monument as well as an attraction.

Planning your visit to tower and church

Visiting the Church of Our Saviour typically divides into two parts: the free access to the main church and the ticketed ascent of the tower. The nave rewards slow exploration, from the altar and pulpit to smaller details such as royal symbols, carved woodwork, and the many representations of elephants hidden throughout. Benches invite you to sit and listen for the creak of the old timber or, with luck, the carillon overhead. Reaching the tower section involves a staircase that becomes increasingly narrow and steep, so it suits visitors with reasonable mobility and no serious vertigo. Timed tickets and capacity limits keep the ascent safe and avoid overcrowding on the external steps and viewing platforms. Allow ample time: lingering at intermediate landings, catching glimpses through porthole windows, and then pausing at the top to trace Copenhagen’s streets and waterways from above is very much part of the experience.