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176
„COPENHAGEN.
Chap. XI.
of limb, the natural effect of a sunny clime, not to be
acquired by the most studied lessons of an accomplished
ballet-master. The Hyrde-dreng is nature in all her
freshness, as mankind would always be were it
unencumbered by the conventionalities of civilization. Mercury is
nature refined, idealised, a composition of the highest
order of art. The statue of Thorvaldsen leaning on
Hope is dignified, and is said to be an admiral le
likewise of the sculptor. “ Why did you so represent
yourself, leaning on Hope too, at your advanced age ?”
inquired a friend. “Because,” replied Thorvaldsen, “in
modelling my own statue, I thought right to assume the
severest style of Æginætan art: I could not idealize
myself as I might another, it would have appeared
ridiculous.”
Having finished with gods and nymphs, with heroes
ancient and modern, we enter the “Hall of Christ.”
Universal was the genius of Thorvaldsen: in his
Mercuries he equalled the sculptors of early Greece, and
now, in subjects of higher interest, he awes you with
the solemnity of his productions. In Italy, Spain, and
other Roman Catholic countries, our Lord is mostly
represented in his agony, nailed to the cross, sad
and painful to gaze upon; here, He stands, dignified
yet benign, surrounded by the Twelve Apostles; mild
and exquisitely beautiful in countenance, he extends
his arms to those who seek consolation, and appears as
though he were pronouncing the divine words, “ Come
unto me all ye that labour and are heavy laden, and I
will give you rest.” There is something encouraging in
liis attitude; tenderness and goodness are expressed in
every feature. I prefer the plaster cast in this museum
to the marble statue itself in Our Lady’s church: the cast
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