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100
SORØ.
Chap. VIL
a very wise precaution on his part, for his successors
were sadly in want of the prayers of all good men
here below. Some time after his death? there arose
a false Olaf, who declared himself to be the son
of the queen; he was in reality the son of King Olaf s
nurse, and divulged many secrets which alone the
queen would know, by way of proving his identity. But
Margaret declared him to be an impostor’; because, as
she said, “ my son died in Falsterbo palace and was
buried in Sorø abbey church, and T myself sent his
entrails to be interred in the choir of Lund cathedral ”
—a very good argument on her part; “ but,” added she,
“ let him be examined; if he be my son, you will find
a mole between his shoulders.” The mole was not
there, and the false Olaf was burnt to cinders the day
before Michaelmas, near Falsterbo in Sweden.
The most beautiful among these monuments is that of
Christopher II. and his queen Euphemia,t daughter of
Bogislaus, Duke of Pomerania. The recumbent figures
of these sovereigns, lying side by side, are of great
beauty and exquisite workmanship. That of Christopher
reminds me forcibly of Edward II. ’s in Gloucester
cathedral. He, as well as his queen, is arrayed in his robes
of state, his hair flowing long, his beard pointed after
the fashion of our early Plantagenets; his head is
encircled by the royal crown, his sword by his side; his
features are regular and expressive. The queen boasts
* 1402.
f Queen Euphemia patronised literature in a mild way : she caused
the story of Blanchefleur and Fleuris to be put into Danish verse
(printed Copenhagen, 1509). It commences—
“ Queen Euphemia, in her ‘ time,’
Caused this tale to be put in ‘ riim.’ ”
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