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Equestrian Statue of Christian IX

A quiet yet powerful royal monument in Christiansborg’s riding ground, uniting a pivotal Danish king with the groundbreaking sculptor who cast him in bronze.

4.6

Set on the riding ground behind Christiansborg Palace, the equestrian statue of Christian IX is a quietly impressive bronze landmark in the historic heart of Copenhagen. Unveiled in 1927 and created by sculptor Anne Marie Carl-Nielsen, it was the first equestrian monument of a monarch made by a woman. The king, known as the “father-in-law of Europe,” sits in calm command above the formal gravel parade ground, framed by palace façades, stables and the distinctive Copenhagen skyline.

A brief summary to Equestrian statue of Christian IX

  • Christiansborg Ridebane 25, Copenhagen, Indre By, 1218, DK
  • Duration: 0.5 to 1 hours
  • Free
  • Environment icon Outdoor
  • Mobile reception: 5 out of 5

Local tips

  • Combine a visit to the statue with a walk around Christiansborg’s courtyards and riding ground to understand how the monument fits into the wider palace complex.
  • Visit in the early morning or late afternoon for softer light that brings out the green-brown patina of the bronze and makes photography easier.
  • Wear comfortable shoes; the riding ground is covered in gravel and cobbles, which can be uneven for some visitors.
  • Look closely at the plinth for the king’s motto and at the horse’s details to appreciate Anne Marie Carl-Nielsen’s focus on anatomy and movement.
  • Pair your stop here with the nearby royal stables or Christiansborg’s tower for a fuller sense of Denmark’s political and royal heart.
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Getting There

  • Metro

    From central Copenhagen, take the M3 or M4 metro line to Gammel Strand Station, which usually takes 3–6 minutes from Nørreport or Kongens Nytorv. Trains run every few minutes throughout most of the day, and a standard single-zone ticket costs roughly 20–25 DKK. From the station, it is a short, level walk through the old town streets to the Christiansborg Palace area, generally suitable for most mobility levels.

  • Bus

    Several city bus routes serve the Slotsholmen and central Copenhagen area, with journeys of about 10–20 minutes from inner districts such as Vesterbro, Østerbro or Nørrebro. A single ticket purchased on app or card is typically in the range of 20–25 DKK. Buses run frequently during the day, less often late at night, and stops are usually within a few minutes’ walk of Christiansborg’s courtyards.

  • Bicycle

    Cycling is one of the easiest ways to reach Christiansborg from most central neighbourhoods, with travel times of 5–20 minutes depending on distance. Copenhagen’s extensive cycle lanes make the route comfortable for confident riders, though the final approach over cobblestones and gravel requires some care. You can use city bikes or standard rentals, typically costing from about 15–40 DKK per half hour depending on provider.

  • Walking

    From key central areas such as Rådhuspladsen or Kongens Nytorv, expect a pleasant city walk of around 10–20 minutes to the Christiansborg complex. The route is generally flat and passes through historic streets and canals. Surfaces near the statue include gravel and cobblestones, which may be less comfortable for wheelchairs or strollers but are manageable with a bit of extra time.

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A royal horseman on Christiansborg’s parade ground

The equestrian statue of Christian IX stands in the open riding ground on Slotsholmen, tucked behind the grand mass of Christiansborg Palace. Here, among clipped façades, cobbles and the occasional scent of horses from the adjacent royal stables, the bronze king surveys the space from a tall, pale stone plinth. The setting feels ceremonial rather than busy, giving you time and room to walk around the monument and take in its profile against the palace roofs and towers. Christian IX reigned from 1863 to 1906, guiding Denmark through constitutional change, territorial loss in the Second Schleswig War and rapid industrialisation. He is often called the “father-in-law of Europe” because his children married into several of the continent’s royal houses, linking Copenhagen to courts in London, Athens, St Petersburg and beyond. The statue distils that complex life into a single moment: a ruler seated upright, reins in hand, poised but not aggressive.

Anne Marie Carl-Nielsen’s groundbreaking commission

The monument is as much a story about its sculptor as its subject. Anne Marie Carl-Nielsen, a Danish artist renowned for her powerful animals and portraits, received the commission in 1908, an exceptional honour for a woman at the time. She worked for years refining the composition, insisting on anatomical precision and a natural sense of movement in the horse, and the statue was finally unveiled in 1927, two decades after the king’s death. For the horse, Carl-Nielsen searched far beyond Denmark, eventually selecting a model in Hanover in northern Germany. The choice caused some local irritation among Danish breeders, but it helped her achieve the strong, balanced pose she wanted: one foreleg gently raised, the body alive with controlled energy rather than theatrical drama. Up close you can see the sculptor’s hand in the textures of mane, harness and uniform, where crisp detail meets broad, confident modelling.

Symbolism cast in bronze and stone

Look at the plinth and you will notice the king’s motto carved into the stone: “With God for Honour and Justice.” It anchors the statue firmly in the values that Christian IX wished to project, speaking of duty, faith and a strict sense of royal responsibility. The inscription, combined with the calm posture of both horse and rider, gives the piece a reserved, almost introspective character rather than a triumphant one. Walk slowly around the base and the composition shifts with every step. From one angle, the king is silhouetted directly against Christiansborg’s tower, tying monarch and state into a single vertical line. From another, the broad expanse of the riding ground opens up, and the statue reads as the focal point of a large urban stage used for parades and ceremonial displays. In softer evening light, the bronze deepens to rich greens and browns, while the pale stone beneath seems to glow.

Part of a wider palace landscape

Although it is easily visited in a few minutes, the statue sits within a dense cluster of Danish power and history. Around it rise the wings of Christiansborg, home to the Danish Parliament, the Prime Minister’s Office and the Royal Reception Rooms. Nearby stand the royal stables and the riding hall, linking the monument thematically to the equestrian traditions that once underpinned royal ceremony and warfare. Because the area is largely car-free and paved with gravel and cobbles, there is a continual crunch underfoot and a clear, open soundscape. On quieter days you might hear the distant clip-clop of hooves from training sessions in the equestrian complex; on busier days, the space is animated by school groups, guided tours and locals cutting across Slotsholmen on their way through the inner city. Yet the statue itself remains a still point, a compact introduction to the story of a king, his era and the artist who broke new ground to represent him.

Experiencing the monument up close

Most visitors spend a short time here, circling the plinth to study the horse’s musculature, the folds of the royal cloak and the crisp edges of medals and decorations on the breast. The monument is unfenced, so you can approach closely enough to see weathering marks and the fine tooling in the bronze. Photographers will find varied angles, from low, dramatic shots against the sky to wider compositions capturing the statue with the riding ground and palace wings. The open-air setting means the mood changes with the weather. Under clear skies the statue feels formal and almost austere; under low clouds or light rain, it gains a certain northern melancholy that suits the story of a small kingdom navigating turbulent times. In winter, a dusting of snow along the plinth and saddle underlines the monument’s sculptural lines, while in summer the bright light picks out every plane and curve, highlighting Carl-Nielsen’s mastery of form in motion.

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