Among the limestone banks that characterise the area there are two low outcrops placed side by side with a slightly sloping rock face, in which a Necropolis (the Sardinian Domus de Janas) was carved. One outcrop houses the Tombs I-II, while the other houses the Tombs III-IX. Depending on the morphology, the entrances are preceded by short dromoi, that is corridors dug into the rock, sometimes leading to a pavilion (Tombs II, VIII, IX), where the access door opens. The tombs are all multicellular, mainly characterised by a “T-shaped” plan; some asymmetries suggest that expansion works have been carried out.
Among the nine tombs, the Tomb VIII stands out for the refinement of the decoration effects. It can be accessed from a raised dromos that leads to a quadrangular vestibule, without ceiling, that shows now only traces of cornices and pilasters. The antechamber has a tabular ceiling with the representation of a wooden roof; the back wall is characterised by a door framed on either side by lowered mirrors and cornices on the model of the wooden structures of domestic architecture which is symbolically imitated in the style of funerary architecture. The walls still preserve dual horn-shaped engravings, of the “boat-shaped” type. In the larger chamber there is a gable roof characterised by a central beam and seven joists per side; in the walls it is possible to see the wainscot at the base and pilasters reproducing the stakes of the supporting wooden structure of the huts. At both sides of the entrance it is possible to see “band” curved horns and the same pattern is repeated along the back wall, which is carved with a fake door, a kind of porta inferi (the door to the underworld). The remaining chambers do not show any decoration. In the adjoining Tomb IX, on the wall of the dromos, it is possible to see two juxtaposed hemispherical cupels.Outside the Tomb VII, there are two menhirs and a flat slab, probably symbols of the funeral area that included the Tombs VIII-IX.
References:Rosenborg Palace was built in the period 1606-34 as Christian IV’s summerhouse just outside the ramparts of Copenhagen. Christian IV was very fond of the palace and often stayed at the castle when he resided in Copenhagen, and it was here that he died in 1648. After his death, the palace passed to his son King Frederik III, who together with his queen, Sophie Amalie, carried out several types of modernisation.
The last king who used the place as a residence was Frederik IV, and around 1720, Rosenborg was abandoned in favor of Frederiksborg Palace.Through the 1700s, considerable art treasures were collected at Rosenborg Castle, among other things items from the estates of deceased royalty and from Christiansborg after the fire there in 1794.
Soon the idea of a museum arose, and that was realised in 1833, which is The Royal Danish Collection’s official year of establishment.