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44
FLENSBORG.
Chap. III.
bore the name of Gyldenløve, golden lion—to Italy,
where he studied for some years; he then employed
his talents chiefly in the decoration of ceilings,
allegories, and altarpieces, of which some few may still be
found in the private residences as well as in the palaces
of the kingdom.
The earliest engraver of whom I find mention in
Denmark, Melchior Lorch by name, was also a native of
this sea-bound city: * not that he troubled much his
native town, which he quitted early in life, and
pursued his travels to the East; remained for many
years at the foot of the Sultan’s throne in
Constantinople, where he drew and engraved, not only the
Grand Turk himself, but his six Sultanas—ugly,
bad-countenanced women, one of whom was black—the
Grand Vizier, and all the people of the court as well
as capital. Curious enough they appear after a lapse
of three centuries. A complete collection of his works
may be seen preserved in the Kobberstik Museum at
Copenhagen.
Not many years since there dwelt in the town of
Flensborg an aged maiden lady, whose name for the
moment escapes my memory, the last of her race, the
first illustration of whose family is well known
throughout the land; and, as the anecdote is to the credit of
her ancestor, I may as well relate the story:—
“ It was during the Swedish wars of the seventeenth
century, that, after a battle in which the enemy had
been worsted, a burgher of Flensborg was about to
refresh himself with a draught of beer from a small
wooden bottle, when he heard the cry of a wounded
♦ Bom 1527.
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