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Chap. III.
MONUMENT OF FREDERIC I.
37
church, with all honourable ceremony. When the fleet
again got under sail it encountered a terrible storm,
and sixteen ships sank, with 6000 men and all the
officers, two admirals among the number—so people
said that “ no funeral was ever so costly as that of good
Christopher Mogensen, for it caused many thousand
living men to become wet that one man might lie dry.”
To give you an idea of the extravagance of the
age, I will merely state that many of the coffins in
this country are of solid silver. A countess of the
noble house of Reventlow lies in a sarcophagus of that
precious metal (dated 1680), so rich in silver angels
and heraldry of all sorts, that a Jew antiquary from
Hamburg is said to have offered to purchase it for the
sum of 15,000 dollars — more than 2000?. of our
English money.
The choir is separated from the nave by a richly
wrought iron screen, fitted up on either side with
carved stalls, similar to our own English cathedrals.
To the right stands the splendid black and white marble
tomb of Frederic I. of Denmark, generally termed
the work of Caprara, an Italian sculptor, though the
original design was executed by Binck,* the favourite
painter of King Christian III., who also superintended
its erection. It is a monument of great beauty and
excellence, the second which exists to the memory of that
monarch, for when his first wife, Princess Anna of
* Jacob Binck was bom at Nuremberg, about the year 1490 ; he
was an excellent portrait-painter, and much patronised by King
Christian III., and by his brother-in-law Duke Albert of Prussia.
Neither could live without him, and there exists a most voluminous
correspondence between these two, begging for his return whenever he
happened to be at the court of the rival patron.
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