The village of Muurame lies a few miles south of Jyväskylä, the town where Aalto grew up and opened his first architectural practice in 1923, so it was only natural for the parish council to commission its new church from the closest qualified architect. Aalto had made his first trip to Italy in 1924, during which he had been greatly impressed by the architettura minore of small, simple churches in rural settings. His travel mpressions are much in evidence in the church of Muurame, with the tall campanile on one side of the rounded chancel, the single-aisle interior with a barrel vault (originally painted black) over a system of joists, and the parish hall in the form of a side chapel to the right of the chancel. A staircase leads down from this room to an exit with a loggia in Brunelleschi style. The vestry is in the bell tower at the level of the chancel. The original 1926 plan included a 'rose garden' at an right angle between the church and the side chapel, a taller campanile, and painted figures in the entrance vaulting. These features were omitted, as were the intended apse paintings. Aalto worked out the interior with great care, preparing numerous detail drawings. The furnishings, designed fairly late in the project, took on elements of Aalto´s 'conversion' to Functionalism in 1928. Thus, Danish PH lamps were used for interior lighting, and the vestry furniture was of tubular steel.
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.