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168
COPENHAGEN.
Chap. XI.
ing the architecture of sunny Greece and Italy to a
northern clime. It is a blot to the city of Copenaghen.
Around the outer wall runs a colossal fresco, in true
Etruscan tints, on a dark background, which depicts the
arrival and disembarkation of Thorvaldsen, with his
various works of art, in the capital of his native
country. The Eying Lion, the Angel, Countess
Øster-mann, Pope Pius, Ganymede, huge yellow bales
marked A. T., rise in profusion, reminding me some«
what of the slides of a magic-lantern. ’ This fresco now
appears somewhat ludicrous, particularly as many of
the figures are likenesses of wrell-known individuals:
could they be covered up for a century, they would be
highly interesting at the expiration of the period;
greatly, however, to the credit of Copenhagen small
boys, they remain uninjured—undecorated with “
spectacles on nose,” or pipes suspended to their mouths.
A long corridor surrounds the spot where Thorvaldsen
lies interred ; the pavement tesselated; the ceilings blue
and starry ; against the walls, which are dark and in good
relief, are placed many of the sculptor’s largest works.
It is always pleasant on entering a strange house, of
whose contents you feel profoundly ignorant, to stumble
on an old acquaintance: it puts you in good humour,
and carries back the mind far away to days gone by,
and scenes half forgotten rise fresh to your memory.
Such were my feelings when, on entering the corridor,
my eye lighted on the Lion of Lucerne dying on the
fleur-de-lys of France, erected to the memory of the
faithful Swiss guard who fell on the 10th August, 1792,
in the defence of France’s sovereign. Then comes the
celebrated frieze the Triumph of Alexander, executed
by Thorvaldsen in expectation of the proposed visit of
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