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HORWALDSEN 
 
 AND 
 
 HIS WORKS, 
 
 CONTAINING 
 
 MS (SNgtMinijsi, with #.xjrlanat0»g ®c,\t. 
 
 J. M. THIELE OF COPENHAGEN. 
 
 TRANSLATED BY 
 
 PROFESSOR PAUL C. SINDING. 
 
 VOLUME I. 
 
 NEW YORK: 
 
 PUBLISHED BY JOHN G. UNNEVEHR. 
 1869. 
 
Entered, according to Act of Congress, in the year 1869, by 
 JOHN G. UNNEVEHR, 
 
 In the Clerk’s Office of the District Court of the United States for the Southern District of New York. 
 
 Macdonald & Palmer, 
 
 Printers, 744 Broadway, cor. Astor Place, X. Y. 
 
PREFACE 
 
 f ! few who become renowned on earth, have, for the most part, some external 
 ircumstances working in their favor, without which, apparently, they would 
 nave been unknown. The French Revolution, with all its horrors and 
 atrocities, had to pass away, and the nation, drunken and reeling with its own blood, 
 was glad to give away all her liberties to Napoleon Bonaparte , provided he could 
 restrain her from destroying herself. It was mainly this that made him. Washington 
 might have cultivated his farm and measured the land of his neighbors, unknown to 
 posterity, had not the American Revolution called out his character and reflected his 
 greatness upon the world. Had not the American Civil War called out the indomit¬ 
 able perseverance and military skill of Ulysses Grant , he would probably have left the 
 world unnoticed. While we willingly allow that such men sagaciously controlled and 
 guided the circumstances which surrounded them, we cannot but feel that it is to 
 these circumstances, in a great degree, that they owe their celebrity. 
 
 But when a mind comes forth from the deepest obscurity, with every circumstance 
 untoward and against it, without one thing to aid it in coming into notice, and yet 
 breaking through all this, and by its own innate talent and energy, and its own unaided 
 power, rising up and compelling notice, and throwing off the difficulties which destroy 
 most men, we cannot but bestow our undivided admiration and applause. It was thus 
 with Bertel Thorivaldsen. There was, humanly speaking, no one circumstance which 
 did not seem to say that he must live and die in obscurity and unknown, nis father 
 was a poor carver in wood, and destined his son to the same occupation. Born and 
 educated amidst poverty, in the humblest walks of life, with not one about him who 
 could understand or appreciate his talent, with no hand to lift him up, and no voice 
 
11 
 
 which could call attention to him, he has challenged and has received the decision of 
 the world’s Supreme Court, that his name shall stand on the rolls of immortality. 
 And if his life might be embodied in a single emblem, perhaps it should be that of a 
 young lion, with an eye that glows and flashes fire, while he is bound with ivy and led 
 by the hand of the three Graces. There must be original greatness in the mind that 
 can thus come into notice, with no circumstance in its favor, but the reverse ; and the 
 struggles against which he has battled and the victory he has gained have, therefore, 
 embalmed his name as one that is almost sacred. The greatest and most honored of 
 men, and the choicest instruments raised up by a superintending Providence, were in 
 most cases from the shades of humble life. There is no aristocracy of talent, and 
 mind is so much more esteemed than matter, intellect is so much more highly prized 
 than the mere circumstances of birth or of wealth, that these circumstances, compar¬ 
 atively speaking, sink into nothingness. If the quill can write a powerful sentence, it 
 is of no consequence whether it came from the wing of the eagle or the goose. 
 
 A gracious Providence granted Thorwaldsen a long life. He died 74 years of age, 
 but though dead, he still speaketh ; thunders peal his renown. The warm breathings 
 of his unsurpassed talent and lofty genius are still upon us and will never grow old. 
 His spirit has stamped itself upon the earth, so that its lineaments will remain till the 
 Archangel’s trumpet shall sound, and the elements are melted. 
 
 
1 
 
 f N the beginning of the eighteenth century, Thorwald Gotskalksen was dean 
 of Myklaby at Skagafiord in Iceland, a remote island in the Arctic ocean. 
 
 His son, Gotskalk Thorwaldsen, born in the year 1740, applied himself to 
 the art of carving, and went to Copenhagen, Denmark, there to support himself by 
 this handicraft. Here he married Karen GtR(>nlund, daughter of a clergyman of the 
 peninsula of Jutland, who on November 19th, 1770, gave birth to 1770 
 
 BERTEL THORWALDSEN, 
 
 the world-renowned sculptor, whose life and immortal master-pieces are to he the 
 subject of this work. 
 
 His father being then in the very prime of manhood, supported himself and his 
 family by decorative carving in wood, and labored as a statuary in the private wharves 
 of Copenhagen ; but he was by no means an artist, in the strict sense of the word. 
 
 The scanty means of little Bertel’s parents did not enable them to do much for 
 his education and instruction, neither did their ambition run very high in that direc¬ 
 tion. However, as he already, when eleven years old, betrayed considerable skill in 
 drawing, his father permitted him to attend the Royal Academy of fine arts, where, in 
 the year 1781, access was given him to the primary class for instruction in off-hand 1781 
 sketching, whence, after the expiration of only one year, he was promoted to the 
 second class. 
 
 No doubt, the object which Gotskalk Thorwaldsen had in view, was to educate 
 Bertel for the trade which he folloAved himself, for when only thirteen years old, he 
 had to help his father in the carving of figure-heads for ships ; and it is told that the 
 little boy’s skill was already then so great, that he often highly improved his father’s 
 carvings. 
 
 After Bertel for two years had attended the second class of the Royal Academy, 
 
2 
 
 he was promoted to the so called plaster-class, where he commenced to make orna¬ 
 ments, figures and mouldings of the Antiques. But already, after one year’s instruction 
 
 1786 here, he was in the year 1786 sent to the Class of Models , where he began to study 
 nature itself, a study to which he afterwards faithfully devoted his life. 
 
 Wiedeavelt, a sculptor of no ordinary ability, was then the President of the 
 Academy, but Abildgaard, who was Professor of the Class of Models, seems especially 
 to have paid attention to Bertel’s innate talent, as he also seems to have been the 
 pattern which at first Bertel selected for imitation. 
 
 After the expiration of but one year Bertel Thorwaldsen obtained the Minor 
 
 1787 Silver Medal of the Academy as a reward of merit. 
 
 The quiet and meditative dignity, the studious and contemplative life, which after¬ 
 wards in ripe manhood became his characteristic, were already seen in the boy. He 
 spoke but little, but his brief, precise answers were often comically striking on account 
 of their unaffected plainness. When sitting at his drawing-board his answer was 
 either a nod or a shaking of the head, and he avoided the use of words. But with 
 all this he combined an uncommon meekness and benignity. His drawings, whose 
 contours were so faintly adumbrated scarcely to be visible, were executed with the 
 greatest assiduity. In his studio his life was hidden. 
 
 When competing for the minor silver medal he was in his seventeenth year, and 
 was then sent twice weekly to the Rev. Mr. Hoyer, Pastor of the Church of the 
 Mariners, to be prepared for the Act of Confirmation. Bertel had his seat far down 
 on the bench amongst the other poor boys, and he did by no means distinguish himself 
 by much biblical knowledge. Once the Reverend gentleman, whose brother Avas the 
 Secretary of the Academy, chanced to ask Bertel: “ Is it your brother who lately 
 won the silver medal?” Bertel answered, “Ho, it is myself.” The clergyman was 
 quite surprised, gave him immediately the upper seat, and called him aftenvards, 
 jokingly, Mr. Thoravaldsen. This in itself unimportant event we only mention, 
 because it made an impression upon Thoravaldsen so indelible that in after years, 
 when his boyhood happened to be the topic of conversation, it afforded him no small 
 gratification to narrate it. He Avas confirmed on April 15th, 1787. 
 
 The very first work of Thoravaldsen is a small bass-relief which he modelled in 
 
 1789 the year 1789, Avhen competing for the Large Silver Medal. This bass-relief, which 
 won the prize, represents 
 
 Tab. JV ilcjjtiwq ttnid, 
 
 IH. 
 
 (2 FEET 4x1 FOOT 9.) 
 
 This is, however, only an academical performance, Avhich our juvenile artist after¬ 
 wards gave an additional interest by adumbrating the model-figure with wings, arrow 
 
3 
 
 and bow. With the arrow in his left hand he rests on the right arm, holding in this 
 hand his bow. In the expression of the head, and in its ringlets of hair tastefully 
 arranged, the influence of Prof. Abildgaard, his instructor, is easily seen. 
 
 When he had won the large silver medal, his father who wanted his assistance, 
 meant that Bertel ought to discontinue and be satisfied. Indeed, he was about to 
 yield to his father’s wish, when fortunately, both his colleagues and Abildgaard 
 interfered. However, young Bertel, deeply imbued with filial love, did not entirely 
 cease to help his father, but cut ornaments in wood, modelled bas-reliefs, drew 
 portraits, sculptured in stone, and so forth. A watch case which Bertel himself about 
 at that time cut out in wood, the Danish coat of arms over the Royal apothecary’s 
 shop, and the four lions at the garden of Fredericksberg palace, which his father, 
 principally by Bertel’s assistance, sculptured in stone, deserve, on account of their 
 great artistic value, to be mentioned. 
 
 When, in the year 1790, preparations were made in Copenhagen for a festival 1790 
 reception of the Crown princess, afterwards the Queen of King Frederic the Sixth, 
 Thorwaldsen borrowed accidentally from a traveler a portrait of the Princess. After 
 this he contrived a medallion which, however, he did not finish until, by frequent 
 visits to the theatre, he had got an opportunity to see the Princess and imprint her 
 features upon his intuitive mind. Thus he executed a very life-like portrait, but did 
 not understand to make it profitable, for on account of a momentary scarcity of money 
 he sold the model for a mere trifle to a Mr. Regoli, who made a lucrative business 
 with it. 
 
 Another work of Thorwaldsen, executed about at this time, is placed for an 
 ornament on the Custom Exchange of Copenhagen. This bas-relief represents a 
 female figure in a sitting attitude, looking through a telescope, which probably is an 
 allusion to the there beautiful view. This work was accomplished at a time when 
 Thorwaldsen occasionally had to work after the designs of other artists. Niclas 
 Wolff, an older and then very promising artist, exercised much influence upon 
 Thorwaldsen, and made the design after which this bass-relief was executed. 
 
 Through all these years, up to the very day of his departure from Denmark, 
 Thorwaldsen lived with his poor parents, 226 Aabenraa, one of Copenhagen’s most 
 obscure streets. In the day time he was mostly in his father’s workshop, but his 
 evenings were entirely devoted to his art, either in the Academy or among his friends. 
 
 In the winter of the year 1790, some young artists, amongst whom was Thor¬ 
 waldsen, formed a society whose object was to study the female model. But the 
 greatest difficulty was to obtain some ideals of female beauty, wherefore all of them, 
 with the exception of Thorwaldsen, studiously sought to remedy this difficulty. 
 However much this concerned Thorwaldsen, he was too unexperienced and too moral 
 
4 
 
 actively to participate in this delicate affair, and partly from being disappointed in 
 removing the above difficulty, and partly from want of means to defray the necessary 
 expenses, this society soon dissolved. 
 
 But Thorwaldsen, Probsthain, historical painter, Grosch, painter of landscapes, 
 and Prof. Fritzch, flower painter, formed a minor society. These four young friends 
 convened weekly to improve in composition, thereby to prepare themselves for the 
 approaching Academical challenge. Their business being transacted, they partook of 
 a frugal meal, the balance of the evening being pleasantly and profitably occupied by 
 the recitation of poetical works, and conversation on subjects pertaining to science and 
 the arts. On such occasions Thorwaldsen exhibited a great facility in composing, 
 and his composition was often finished before his three friends had agreed how to solve 
 the problem. He was then sitting silently modeling in a lump of clay, or in want of 
 that, in a piece of bread. Sometimes he took a lead-pencil and sketched an idea or 
 whatever occurred to his mind. 
 
 It may not be out of place here to notice how much Asmus Jacob Carstens, the 
 unhappy, but highly talented painter, whose acquaintance Thorwaldsen after some 
 years made in Rome, probably already then influenced him. Carstens who had 
 studied at the Royal Academy of Copenhagen, left Denmark dissatisfied. Groscii, one 
 of his warmest admirers, often spoke of how little his gifted friend had been appre¬ 
 ciated in his native country, and as he had in his possession many highly finished 
 drawings and compositions executed by Carstens, he'Trequently exhibited them to 
 Thorvaldsen, and it is not at all improbable that the great genius pervading all the 
 productions of Carstens has beneficially influenced Tiiorwaldsen’s artistic mind. 
 
 The academical challenge for the Minor Gold Medal was now drawing nigh, but 
 Thorwaldsen, strange to say, felt disinclined to engage in it. His three friends did 
 not fail constantly to encourage and animate him, but cried out to him in Green Street, 
 where the Society met: “ Thorwaldsen , bear in mind the Challenge ,” and when in the 
 year 1819, Fritzch again saw his intimate friend, he exclaimed, jokingly: “ Thorivaldsen, 
 bear in mind the Challenge ” Though so many years had now elapsed, he had not 
 forgotten it, but remembered it even with a sort of comical fear. Nevertheless, had 
 it not been for the urging of his friends, Thorwaldsen would not have taken part in 
 the challenge. 
 
 1791 On the first day of June, 1791, the competitors met in the Academy to receive the 
 problem to be solved. Each one was then separately boxed up, to make his sketches 
 and thereby prove whether or not he was worthy of being granted permission to 
 engage in the challenge. The possibility of being found unworthy to take part, vexed 
 Thorwaldsen very much, for he was modest enough to acknowledge his inablity to 
 handle a historical subject, at feast to his own satisfaction, and too proud quietly to 
 
5 
 
 comply with a dismissal. The problem proposed for solution was the Expulsion of 
 Heliodorus from the Temple , taken from the Second Book of the Maccabees, Chapter 
 iii. 25-27 verses. 
 
 After having received this question, Thorwaldsen left the box to steal away, and 
 by the aid of some privy stairs he had already reached the gate, when he met one of 
 the Professors, who urgently beseeched him to return. He yielded, went to work and 
 in four hours he completed a sketch fully corresponding to the great expectations 
 already formed about him. From this sketch he executed in less than two months the 
 celebrated bas-relief representing 
 
 ®ite of geliotlonts from the 
 
 (3 FEET 7 IN. X 5 FEET 6 IN.) 
 
 In the third chapter of this apogryphal book of the Old Testament, it is told how 
 Heliodorus is sent by King Seleucus to take away the treasures deposited in the 
 temple, and how he is struck by God for the committal of this heinous crime. Thus 
 read the words : “And there appeared a horse with a terrible rider upon him, adorned 
 with a very fair covering, and he ran fiercely, and smote at Heliodorus with his fore¬ 
 feet, and it seemed that he that sat upon the horse had complete harness of gold. 
 Moreover, two other young men appeared before him, notable in strength, excellent 
 in beauty and in comely apparel, who stood by him on either side, and scourged him 
 continually, and gave him many sore stripes. And Onias, the High Priest, cried for 
 vengeance against the sacrilegist, who fell suddenly unto the ground, and was compassed 
 with great darkness, and lay speechless without all hope of life.” 
 
 Thorwaldsen represents here that moment in which Heliodorus falls unto the 
 ground beneath the fore-feet of the horse. With his own hands the sacrilegist takes 
 out of the treasury two vases filled with money. These vases are seen thrown behind 
 him. His warriors recede ; one holds in his hand the royal command, another conceals, 
 astonished, his eyes from the radiant sight, and a third takes up arms to resist. The 
 main group is accurately represented, according to the text. The rider is on both 
 sides surrounded with two men, rushing on in rich apparel. One of these figures 
 seems to indicate that Thorwaldsen already then knew Raphael’s famous representa¬ 
 tion of this subject. Behind, Onias, the High Priest, is seen on his knees invoking 
 Heaven for aid in this critical moment, and with him two priests. The universal 
 lamentation in the city and in the temple, is represented by a woman who agonizingly 
 stretches out her right hand, while with the left she embraces her child. 
 
 On the 15th of August 1791, the Academy decreed to Thorwaldsen, for the 1791 
 execution of this bass-relief, the Minor Gold Medal. Count Reventlow, who, as an 
 
6 
 
 honorary member of the Academy had had frequent opportunities to hear Thorwaldsen 
 favorably mentioned, and now had an opportunity to see a specimen of his great 
 artistic skill, became so enamored of this work of art that he caused it to be cast, and he 
 kept one copy for his own manor. Niclas Wolfe now wished to procure for his friend, 
 Thorwaldsen, an opportunity to represent some interesting scenes of Homer’s Iliad. 
 To defray the expenses therewith connected, Wolff started a subscription which 
 Reventlow liberally headed. Thus being enabled more independently to cultivate his 
 favorite art, Thorwaldsen selected the 24th Book of the Iliad, v. 475-89, and repre¬ 
 sented in a small bass-relief 
 
 Tab. fhiiuw Srhillicjs. 
 
 V. 
 
 (2 .FEET 1 IN. X 2 FEET 5 IN.) 
 
 We quote the Homeric words from the Earl of Derby’s excellent translation. 
 Priam says : 
 
 “ Lies yet my son beside the Grecian ships, 
 
 Or hath Achilles tom him limb from limb, 
 
 And to his dogs the mangled carcass giv'n ? 
 
 To whom in answer thus the guardian-God : 
 
 On him, old man, nor dogs, nor birds have fed, 
 
 But by the ship of Peleus’ son he lies 
 Within the tent; twelve days he there has lain, 
 
 Nor hath corruption touched his flesh, nor worms 
 That won’t to prey on men in battle slain. 
 
 Around his comrades he drags indeed 
 The corpse, dishon’ring each returning morn, 
 
 Yet leaves it still uninjured; thou thyself 
 Might’st see how fresh as dew besprent he lies, 
 
 From blood stains cleans’d, and clos’d his many wounds ; 
 
 For many a lance was buried in his corpse. 
 
 So ev’n in death the blessed God above, 
 
 Who loved him, well protect thy noble son.’’ 
 
 After Achilles has satisfied his indignant grief over the death of Patrocles by 
 slaying Hector and dragging his corpse around the grave of his friend. Priam, the 
 afflicted old monarch accompanied by Hermes, approaches in the deep of night the 
 tent of Achilles offering costly gifts for the corpse of his beloved son. 
 
 In this bass-relief, the aged king, Priam, is seen prostrating himself before Achilles 
 and supplicatingly raising his head towards him. Moved by this sight the hero rises, 
 grasping the king’s hand with his left, while he lifts the right hand and lays it, in a 
 manner of consolation, on the shoulder of the venerable sire. This bass-relief has 
 
7 
 
 acquired a peculiar interest, from the fact that in the year 1815, Thorwaldsen was 
 requested to execute a similar copy for the Duke of Bedford. 
 
 When the Prussian sculptor, Prof. John Geoffrot Schadow, in the year 1792, 
 visited Copenhagen and was made a member of the Academy, Schadow modeled a 
 bass-relief representing Bacchus and Ariadne. Abildgaard was rather dissatisfied 
 with it, and requested Thorwaldsen to represent a similar subject. To gratify his 
 preceptor’s wish, he modeled in the same year a bass-relief, which Abidgaard 1792 
 exhibited in the Academy in competition for superiority to that of Schadow. This 
 work represents 
 
 ffrmtks and (i>M|)Iuilc. Tab 
 
 (1 FOOT 7 IN. X 2 FEET.) 
 
 When Hercules, according to the response of the Delphic oracle, had been sold 
 by Mercury to Omphale, the Queen of Lydia, to undergo a triennial thraldom, he 
 became so infatuated by her amorous tricks, and gave himself up to such an effeminacy 
 that he span on her spinning wheel, while she craftily deprived him of his club and of 
 the skin of the Nemean lion. 
 
 To explain this mythological scene, Thorwaldsen has represented Hercules 
 effeminately stretched on a voluptuous couch, holding in his right hand the spinning 
 wheel, and with the left embracing Omphale, who. sitting at his side with her right 
 arm around his shoulders, draws the thread out of the spinning wheel. In her left 
 arm she holds the heavy club and rests on the skin of the lion, while he is wrapped up 
 in her dress. 
 
 Thorwaldsen, who daily made gigantic progress in his art, accepted the next year, 
 with greater confidence in himself, the Academical challenge. The question given for 
 solution was this time taken from the third chapter of the Acts of the Apostles: 
 
 f?(to hub a Hattie fgatt. 
 
 (3 FEET 9 IN. X 5 FEET 6 IN.) 
 
 Thus read the words in the sacred volume : “How Peter and John went up 
 together into the temple, at the hour of prayer, being the ninth hour. And a certain 
 man, lame from his mother’s womb, was carried, whom they laid daily at the gate of 
 the temple which is called Beautiful, to ask alms of them that entered into the temple ; 
 who, seeing Peter and John about to go into the temple, asked an alms. And Peter, 
 fastening his eyes upon him, with John, said, Look on us. And he gave heed unto 
 them, expecting to receive something of them. Then Peter said, silver and gold have 
 I none ; but such as I have give I thee : In the name of Jesus Christ of Nazareth rise 
 
8 
 
 up and walk. And he took him by the right hand, and lifted him up ; and immedi¬ 
 ately his feet and ankle-bones received strength. And all the people saw him walking 
 and praising God.” 
 
 Thorwaldsen has selected the very moment, when Peter, full of confidence in 
 the Saviour, took the lame man by the right hand and bade him to rise up. John 
 stands at Peter’s side and lays his hand upon the lame man, in whose limbs the healing 
 power of the Apostle already is felt. The people passing by, stand still and look on. 
 On one side of the main group an aged man is seen, pondering on this cure and 
 covering his beard with his hand ; behind him stands a mother with her child. On the 
 other side a boy is seen narrating this event to a blind old man who asks the boy to 
 lead him to the Apostle, that his sight may be restored to him. 
 
 This beautiful work of art was exhibited in the Academy, and on August 14th, 
 1793 1793, the Large, Gold Medal was decreed to Thorwaldsen. 
 
 The great prerogative combined with the obtaining of this medal, was a triennial 
 stipend, to enable him to go abroad. It was, however, considered expedient, that before 
 setting out on a European tour, Thorwaldsen should be carefully instructed in the 
 usual branches of literature. To defray the expenses therewith connected, the 
 Academy granted him a pecuniary assistance for two years. 
 
 Besides, Thorwaldsen made now a respectable living by giving private lessons in 
 drawing, by modeling, and by drawing portraits. The instruction in drawing Avhich 
 he gave, introduced him to the most refined circles of society, by which, now and then, 
 an opportunity was given him to earn something by drawing portraits. Several small 
 specimens of such portraits are still preserved, drawn on parchment and overlaid 
 with a slight tincture of water-colors. Such a one, his own likeness, drawn by 
 Jab- himself in his 24th year, represents him as he stood in his little workshop, while 
 he was executing the bust of the philosopher, Tyge Rothe. Several portrait- 
 medallions and four vignettes to Sulim's Northern Tales , to Haste's Thalia, and to 
 the portrait of the actress, Madam Rosing, are still preserved as memorials of him 
 from that period. 
 
 Thorwaldsen was now introduced by some lovers of art, to the Danish Dramatic 
 Literary Society, where he weekly associated with Henry Steffens, Baiibek, 
 Abrahamson, and Tiiaarup, whose intelligent and spirited conversation was of great 
 benefit for the cultivation of his mind. In the jovial meetings Thorwaldsen gladly 
 took part, but he seems, however, to have been more of a quiet beholder and observer, 
 than of a gay and merry companion. 
 
 About this time, Thorwaldsen kept a large dog, from whom he was almost 
 inseparable—his great love for animals being one of his many amiable characteristics 
 —and when the dog once had bitten an impatient creditor, it was long a joke amongst 
 
9 
 
 his friends to ask him for whelps of this excellent dog who could and would bite 
 obtrusive creditors. 
 
 In his deportment he observed great decorum and propriety, and he was easy to 
 please. Now and then it vexed him a little that his room was so poorly adapted 
 for the reception of his friends. Nevertheless, when a more elegant apartment 
 was offered him, he politely declined from fear of hurting the feelings of his poor 
 parents. 
 
 As to his character, his contemporaries express themselves differently. Some 
 believe that his quiet meditative mind and deep musing silence, was founded in a 
 secret grief over his parents’ needy circumstances, whilst others ascribe it to higher 
 motives. Certainly, indigence was the constant companion of his youthful days, but 
 it did by no means crush him; on the contrary, his deep artistic eye was all the time 
 dwelling upon his advancing genius, and he did not much heed whether the paths he 
 walked on, were smooth or thorny. And all his associates unanimously mention him 
 as an amiable young artist, whose light blue eyes prophetically predicted the great 
 revelations of the deep secrets in sculpture, which he was destined to make. He was 
 neither too modest, nor too vain ; his vanity consisted in the deep love which he 
 cherished for his genius. 
 
 Thorvaldsen grew up almost entirely left to himself, and the schooling he 
 received, was too superficial to render him a man of culture, in the usual sense of the 
 word. But he understood with unusual facility to retrieve, or at least to remedy that 
 which had been neglected ; and no one beholding his marvelous performances in the 
 cold marble, can doubt that he who plastically interpreted Homer, and comprehended 
 all the secrets of the deep art of the most cultivated nation, into which centuries in 
 vain had sought to penetrate, must needs have been possessed of the loftiest and most 
 refined mind, and of the keenest mental sight. 
 
 When in the year 1794, the four palaces of Amalienborg, Copenhagen, were to 
 be repaired, the decoration of the palace belonging to the hereditary prince, was 
 assigned to Abildgaard, who thus got a favorable opportunity to give his young 
 friend, Thorvaldsen, access both to practice and to earn something. 
 
 For this palace, Thorvaldsen modeled two bass-reliefs : The Seasons of the Tear, 
 and the Periods of the Day , which embellish the dining saloon ; and for another 
 apartment he modeled the two Muses, Terpsichore and Euterpe, (6 feet), which are the 
 very first statues we have from his hand. Furthermore, in the niches of the walls of 
 the palace, two figures (5 feet 9 in.) are inserted, commonly called Muses, though as 
 such they are but little characterized. He executed these works in a very unusual 
 manner. They were not first modeled in clay and then cast in plaster, but modeled 
 alia prima , or better to say, masoned from the pedestal, with stone and stucco, a 
 
 1794 
 
 Tabb. 
 
 IX &X. 
 
 Tabb. 
 
 XI & XII. 
 
10 
 
 modus operandi which, on account of the speedy drying up of the stucco, is connected 
 with many difficulties. 
 
 When the Swedish sculptor, Prof. John Tobias Sergel, just at this time was in 
 Copenhagen, and heard of this new manner of proceeding, he went to the palace and 
 asked courteously our artist: ‘ 1 By what implement has the young gentleman executed 
 these beautiful figures ? ” Thorwaldsen, pointing to a scraper which he held in his 
 hand, answered with his usual Spartan brevity : “By this.” 
 
 1793 When the biennial pecuniary assistance, granted him in the year 1793, had 
 expired, Thorwaldsen engaged himself in executing a bass-relief representing 
 
 fjhttM iuul 
 
 Tab. 
 
 XIII. 
 
 (1 FOOT 6 IN. X 2 FEET.) 
 
 Egeria, the water nymph, visited in the night Numa Pompilius, the second king 
 of Home, and taught him how to establish his realm by wise and judicious laws. 
 
 The counsels suggested by Egeria the King records on a slate, which he keeps in 
 his left arm. The garlanded nymph, holding an urn in her left hand, shows him with 
 the right how to write down her counsels. 
 
 1795 This work Thorwaldsen sent in 1795, to the Academy, accompanied by a petition 
 still for one year more to keep the pecuniary aid. The answer given was in the 
 affirmative, and besides, he received the promise to obtain the above mentioned 
 triennial stipend which next year would be vacant. 
 
 One year before leaving Denmark, Thorwaldsen was requested to model a bust of 
 Peter Andreas , Count of Bernstorjf. As he had never seen the Count, and had to model 
 the bust after a painting of Juel, he disliked to comply with the request. Nevertheless, 
 he commenced, and sought for an opportunity to see Bernstorff, aud to be acquainted 
 with his features. The bust was almost completed, when Abildgaard one day came 
 to see it. Not fully satisfied with it, he corrected something about the mouth. 
 Thorwaldsen did not seem to be much pleased with the liberty Abildgaard had 
 taken, but when he soon became convinced of the great improvement which his 
 preceptor had effected, he begged him to appreciate the full extent of his gratitude. 
 Meanwhile, Thorwaldsen got an opportunity to show the model to the Countess, Avho 
 was so highly pleased with it that she prevailed upon her husband to sit before the 
 young artist, that he might be better enabled to execute a perfect life-like bust. In 
 the year 1798, it was sculptured in marble and sent from Borne to Copenhagen, and 
 in 1802, Thorwaldsen executed a second copy for BernstorfFs relatives. This differs 
 from the first copy thereby, that it is without drapery. 
 
 1796 In the year 1796, Thorwaldsen obtained the Academical stipend, amounting only 
 
11 
 
 to 400 rix dollars annually, for three years in succession, with the proviso, every sixth 
 month to report to the Academy how he used his time, and after two years to send 
 home specimens of his progress, conditions which he most conscientiously fulfilled. 
 
 On his way to “the Eternal City,” it was Thorwaldsen’s intention to visit 
 Dresden and Vienna, to remain there for some length of time, and to take private 
 lessons in the Italian language before he traversed the Alps. But the whole scheme 
 devised for this journey, was at once thwarted by his falling into a malady that made 
 him unable to sustain the jolt of a carriage, and when at the same time the martial 
 commotions in Germany made a journey there quite difficult and dangerous, Thor¬ 
 waldsen obtained permission to go along with the royal Danish frigate, Thetis , just now 
 being equipped to leave for the Mediterranean sea. The final valediction was drawing 
 nigh, and Thorwaldsen anticipated rich artistic enjoyment in the “ Eternal City,” but 
 to leave his mother whose express image he was, weighed heavily upon his filial heart. 
 
 When he had taken leave of his parents, he visited a friend whom he asked to go 
 to his mother to tranquilizc her mind. But her grief bordered on insanity, and she 
 was deaf to all consolatory arguments. When the friend told her that according to 
 an arrangement which her Bertel had made, a well-known man would assist her, she 
 pointed to a box full of ducats which Bertel had given her, and said that she needed 
 nothing but her Bertel ; and under heart-rending lamentations she took from a 
 wardrobe an old coat which she incessantly kissed and pressed to her bosom, because 
 it had belonged to her dear, dear Bertel. Meanwhile, the frigate weighed anchor 
 and left Copenhagen on May 20th, 1796. This voyage was connected with many 
 hardships. Thorwaldsen had for a long time to endure cruisings and quarantines 
 instead of touching at an Italian harbor. The frigate was first cruising in the North 
 sea, then she sailed southward, and on October 16th, she touched at Algiers. 
 
 A contagious disease had lately been raging here, and the frigate had, therefore, 
 to endure a severe quarantine at Malta. Nevertheless, Thorwaldsen passed the time 
 rather pleasantly in company with the naval officers, who treated him with the utmost 
 deference and friendliness. We have from this time a small portrait of one of the 
 officers, with the subscription, B. Thorivaldsen , Fecit , Malta, 1796. Hence the frigate 
 left for Tripoli, to terminate the hostilities which this State had shown to Danish 
 vessels. While negotiations on this subject took place, a violent hurricane compelled 
 the frigate to resort to sea room, and before she returned to Tripoli she had to endure 
 the severest gales, and Thorwaldsen had often death before his eyes. 
 
 The negotiations with the Pasha had not been satisfactory, and the Captain had 
 to take the Danish Consul, his family and domestics on board, and to leave again for 
 Malta, but a severe gale damanged the Thetis so much that she had to be careened in 
 the harbor. This became too tedious for Thorivaldsen, and when he at the same time 
 
12 
 
 learned that the frigate after being refitted should again go to Tripoli, he concluded to 
 look for some other conveyance. No sooner was the sea calm than he hired an open 
 boat for Palermo, in Sicily, whence by a packet he at length reached Naples. 
 
 A debility from which he suffered before leaving Denmark, often depressed his 
 mind, and now being alone in a land whose language he did not understand, he felt 
 very home-sick. He did not feel himself more happy in the charming Naples 
 than in Africa, and it was almost his intention to leave for Denmark. Still, obedience 
 
 1797 to his high vocation took him to Pome, where he arrived on March 8th, 1797. This 
 day was long solemnized as the anniversary of his birth, as he himself for several 
 years was ignorant of the day of his nativity. 
 
 In Rome, Thorwaldsen rented a studio in Strada Babuina, and applied himself 
 immediately to his art. From the learned Danish Bishop, Dr. Frederic Munter, he 
 brought a letter of recommendation to Munter’s friend, George Zoega, a famous 
 antiquarian. At first Tiiorwaldsen was not successful in inspiring this austere critic 
 with favorable opinions of him, but the judicious advices which Zoega gave him, seem 
 to have been of great importance to Thorwaldsen, and to have led him to the study 
 of the antique style. 
 
 According to his advice Thorwaldsen commenced to copy after the ancient busts, 
 statues, and vases. Pollux on Monte Cavallo made a strong impression upon him, and 
 the bust of this colossal statue he copied in half size, and when through Zoega’s kind 
 instrumentality he soon obtained permission to work in Palazzo della Consulta, he 
 executed the whole Pollux Statue in half natural size. 
 
 In addition to this, Thorwaldsen copied on Capitolium the large busts of Homer , 
 Cicero , and Agrippa. The two last ones he executed in marble and sent home to the 
 Academy. Besides, he copied the famous busts of the Medicean Venus, of the Vatican 
 Apollo, of the Capitolian Jupiter, of Melpomene, Ariadne and of the Lesbian poetess, 
 Sappho. Of original works which he completed in Rome, the bust of Tyge RotJie was 
 the very first, the model of which he had brought with him from Denmark. 
 
 1798 In the summer of the year 1798, Thorwaldsen was busily engaged in the 
 execution of a group which he intended to send home to the Academy, when he 
 suddenly was interrupted by the Roman fever. However, the group was about 
 completed and represents 
 
 Tab. 
 
 XIV. 
 
 ffawtais and JbiadnL 
 
 (2 FEET.) 
 
 After Theseus, from fear of the anger of the Gods, had deserted Ariadne in the 
 isle of Naxos, she was in the very midst of her grief enlivened by the love of Bacchus, 
 who married her and made her his jiriestess. 
 
13 
 
 Thorwaldsen has represented Bacchus, the God of wine, sitting with his dear 
 Ariadne. While he embraces her with his right arm, he holds in the left hand a pocal, 
 into which, by gently lifting her arm over his shoulder, she pours the foaming wine. 
 
 At length Thorwaldsen almost authoritatively extorted from Zoega a more 
 favorable opinion, but fully to satisfy him was an impossibility. However, by his 
 judicious counsels and rigid criticism Zoega seems to have exercised an highly beneficial 
 influence upon the successful development of Thorwaldsen’s great talent, or, to use 
 the artist’s own expression, “speedily to have made the snow melt from his eyes.” 
 
 Rome being at this time constantly alarmed by French, Russian and Neapolitan 
 arms, the sojourn there was so unfavorable to our peaceable artist, that he made 
 himself ready to leave in a moment, if necessary, and dispatched, therefore, his works 
 to Denmark, among which was the bust of Bernstorff. 
 
 In Rome, Thorwaldsen greatly enjoyed the enlivening and profitable converse 
 of the celebrated painter, Asmus Jacob Carstens, who just at this time died. Unfor¬ 
 tunately, only one year did Thorwaldsen profit by this great man’s wise suggestions, 
 but he never ceased to admire his productions, and in order more deeply to penetrate 
 into his invaluable artistic genius, he copied several of Carsten’s paintings. 
 
 The triennial stipend was now exhausted, but under so unfavorable circumstances 
 that it would have been of very little utility for Thorwaldsen, should he now have 
 left Rome. He petitioned, therefore, for a prolongation of the stipend. This was 
 granted him for two years. 
 
 The artistic productions of Thorwaldsen- at this period, all indicated a deep 
 longing for a cessation of the martial commotions which then harassed all Europe. 
 With reference to this he closed the 19th century with a group representing 
 
 “The winged Goddess,” thus he describes this group in a letter to the Academy 
 of Copenhagen, “ is sitting on the terrestrial globe. With a caduceus (the wand of 
 Mercury) in her right hand, she embraces with her left arm the genius of riches and 
 abundance which stands on the globe at her side, while she tramples under foot the 
 destructive implements of war.” 
 
 It was Thorwaldsen’s intention to send this work to Denmark, and it was, there¬ 
 fore, cast in plaster. 
 
 Besides the busts already mentioned, he executed in the year 1800, a copy of 
 Raphael’s bust, Avlnch now adorns the Danish Academy of fine arts. But in his 
 struggle with the ideal, we mean with the model of perfection, Thorwaldsen, who 
 wished to exclude everything that was either defective or unseemly, unfortunately in 
 
 1799 
 
 1800 
 
14 
 
 the exuberance of his artistic zeal often broke in pieces many a composition that 
 would have greatly distinguished him. Thus, for instance a Pallas, of whose attire 
 the merciless critic Zoega remarked, that no decent woman of olden Greece was 
 dressed on such a wise, was broken in pieces on account of this remark. Another work 
 Tab. f rom this time is the sketch of Melpomene, the Muse that presided over tragedy and 
 lyric poetry, (2 feet 5 in.), which the learned Danish lady, Madam F. Bruun, then in 
 Rome, saved from a similar fate. 
 
 When Thorwaldsen, in the autumn of 1800, was engaged in the execution of 
 Raphael’s bust in marble, he commenced before leaving Rome for Denmark, a larger 
 work, which was to be exhibited in Copenhagen as the result of his studies in Rome. 
 This great work was 
 
 (7 FEET 10 IN.) 
 
 the leader of the celebrated Arogonautic expedition, who after he had landed with 
 his Argonauts at Colchis, and at the command of PeIias, his uncle, had seized upon 
 the Golden Fleece, was about to return to the vessel Argo, in which he had embarked. 
 
 His spear rests on his right shoulder, and over his left arm the Golden Fleece 
 hangs. But before leaving Colchis, he dwells with a triumphant, but at the same time 
 angry eye, upon the monstrous dragon he had killed, it being one of the many labors 
 he had to perform in order to obtain the Fleece, and which he had now successfully 
 accomplished. 
 
 This statue was begun in October 1800, in natural size, and was completed in 
 
 1801 day in April 1801, but as Thorwaldsen could not afford to pay for a cast of it, he 
 broke it in pieces. 
 
 The stipend was again exhausted, but his departure from Rome, which was to 
 
 1802 lake place in the spring of 1802, was postponed till the beginning of 1803, because 
 Zoega who intended to accept a Professorship offered him at the University of Kiel, 
 Holstein, would then accompany him. But Zoega meanwhile changed his mind, and 
 Thorwaldsen recommenced his Jason, who soon appeared triumphantly in preternatural 
 size. 
 
 1803 It was in January 1803 that this world-renowned statue was completed, which 
 gained the admiration of all artists and travelers, and won even Zoega ’s undivided 
 approbation. Antonio Canova, the famous Venetian sculptor, had to confess that this 
 production of the young Dane was the greatest master-piece he had ever seen. Never¬ 
 theless, this statue would have undergone the same fate as its predecessor, had not 
 the learned and rich Madam Bruun enabled Thorwaldsen to cause it to be cast, that 
 it afterwards might be executed in marble. 
 
15 
 
 But Thorwaldsen ’s leave of absence had expired; he was homeward bound. 
 The Vetturino with his four-wheeled carriage held before the door, when the sculptor, 
 Hageman, suddenly informed him that he could not leave, as his passport was not yet 
 in complete order, and that his departure had to be put off till the next day. 
 
 But now it should happen that just on this day a hired servant took the wealthy 
 English banker, Sir Thomas Hope, to Thorwaldsen’s studio. Hope, like all others, 
 was perfectly astonished when seeing the statue of Jason, and instantly asked 
 Thorwaldsen how much it would cost to have the celebrated leader of the Argonautic 
 expedition executed in marble. Thorwaldsen answered, “600 Sequins,” ($1300.) 
 Hope offered to pay 800 Sequins, if he would forthwith begin the execution in 
 marble. 
 
 How this liberal offer surprised Thorwaldsen ! This event had a decided, a 
 regenerative influence upon his whole life. From this time his glorious artistic 
 career commenced, which elevated him so high that even his opposers could but testify 
 to his unquestionable greatness. To leave for Denmark was now impossible for him. 
 He had to remain in Rome. But no sooner had he commenced to sculpture Jason in 
 marble, than he fell into the same sickness from which he had suffered in Denmark, 
 and the physician he consulted advised him to take a journey of one year’s duration. 
 Upon his return to Rome he had, on account of straitened circumstances, to divide his 
 time between Jason and several new orders. Hence it was that Jason was still 
 unfinished, when Napoleon, by his Edict of Milan, December 17th, 1807, excluded 
 the Englishmen from Italy and confiscated all English property. 
 
 When at length these difficulties had been removed, Thorwaldsen felt disinclined 
 to finish a work, which, on account of his continual progress in his art, no longer 
 satisfied him either in its details or in its execution, and offered, therefore, Hope, to 
 execute for the same sum of money any other production instead of Jason. But. 
 Jason had an interest for Hope, paramount to all other considerations. 
 
 Thus Jason remained unfinished for several years ; but Thorwaldsen did never 
 forget his debt of gratitude to Hope. 
 
 However difficult it, from year to year, became for Thorwaldsen to finish this 
 work to his own satisfaction, it was, nevertheless, frequently the subject of his 
 inspection and meditation, and he often took his chisel to make such alterations as he 
 considered advantageous. 
 
 In May 1824, Thorwaldsen was busy with the execution of the head, while one 
 of his best students was laboring on the Golden Fleece. On seeing Thorwaldsen 
 working with his chisel on the forehead of the hero, a friend of his remarked : “It 
 must, no doubt, be a pleasant occupation for you to finish a statue that is so significa¬ 
 tive in your artistic career.” “No,” said Thorwaldsen, “it is rather an unpleasant 
 
16 
 
 one. When I first modeled this statue, I found it good, and it is still good, but now I 
 can do something better.” 
 
 Finally Jason was completed in marble, from the great master’s own hand, and 
 was in August, 1828, sent to England. In grateful acknowledgment of Sir Thomas 
 Hope’s great patience, Thorwaldsen presented him with three bass-reliefs, A genio 
 lumen, Anacreon and Cupid , as also with the busts of Madam Hope and her three 
 daughters, all in marble. 
 
 While in the year 1803, the marble block for Jason was being rough-hewn, 
 Thorwaldsen modeled one of his most famous bass-reliefs, whose subject he took from 
 the Iliad, 1st Book, v. 370-378, and selected for representation 
 
 rlnllcs Mil fhisfis 
 
 (3 FEET 7 IN. X 7 FEET 10 IN.) 
 
 Briseis, daughter of a priest of Jupiter, given to Achilles upon the taking of 
 Lyrnessus, whose abduction caused his wrath with Agamemnon, who sent his heralds, 
 Taltybius and Eurybates, to the tent of Achilles to demand Briseis from him. Achilles 
 who had to yield, commanded his friend, Patrocles, to give up the dear girl. 
 
 Thus read the words of the Iliad in Lord Derby’s metrical translation : 
 
 “ The camp thus occupied, the King (Agamemnon) pursued 
 His threaten’d plan of vengeance; to his side 
 Calling Taltybius and Eury bates, 
 
 Heralds, and faithful followers, thus he spoke : 
 
 ‘ Haste to Achilles’ tent, and in your hand 
 Back with you thence the fair Briseis bring. 
 
 If he refuse to send her, I myself 
 
 With a sufficient force will bear her thence.’ ” 
 
 And in v. 395, Achilles says : 
 
 “ Go then Patrocles, bring the maiden forth 
 And give her to their hands.” 
 
 True to the words of the Iliad, Thorwaldsen has represented the meek Patrocles 
 as the central point of the scene. Laying his left hand on the shoulder of Briseis, 
 Patrocles gently pushes her away from a place where her presence only occasions 
 sorrow and anxiety, and his attitude seems to indicate that he will hasten to his friend, 
 to tranquilize him. Briseis follows him, though reluctantly ; she does not reach the 
 herald her hand, but he takes it by force. In her deep grief she leans her cheek upon 
 her right hand and fixes her eye once more upon her afflicted lover. Achilles himself is 
 
 Tab. 
 
 XYIL 
 
17 
 
 the express image of the most violent passion. He has cast off his mantle, presses his 
 left hand convulsively to his heart, and his eyes toward heaven seem to expostulate 
 with Zeus (Jupiter) himself. He has flung himself down on a chair, hut so restlessly 
 that he is expected every moment to jump up again. 
 
 This was Thorwaldsen’s first bass-relief in Rome, which created no less sensation 
 than the statue of Jason. If by his masterly execution of Jason he had rivaled 
 Canova, he seemed by this production to have reached the superiority in that branch 
 of the art of sculpture in which the famous Venetian has never been able to compete 
 with him. The first copy in marble Mr. Von Ropp bought for his manor in Mittau, 
 Courland. Another copy, which in 1815 the Duke of Bedford, England, ordered, 
 was completed in 1820, a little smaller than the original, in order that it might 
 correspond to the bass-relief representing Priam and Achilles , which also had been 
 ordered. It was placed in the Ducal residence in Woburn Abbey. 
 
 While Thorwaldsen was busy with the execution of this famous work, the afore¬ 
 mentioned debility from which he long had suffered, gained such an ascendancy that 
 his friends-forebodecl a speedy termination of his life. According to their advice he 
 concluded to leave for the salubrious air of Naples, to effect that in which the skill of 
 the ablest physicians had proved abortive, and in 1804 he went to Naples, accompanied 1804 
 by the Danish Count, Adam Moltke, whose bust he shortly before had modeled. 
 
 That his stay at Naples this time, provided of course that his sickly condition 
 permitted it, has been of more interest to him than was his first visit there, admits 
 not of a doubt. In company with several artists of distinction he went to the 
 ruins at Pesto, and the famous painter, Kniep, long remembered Thorwaldsen’s 
 enthusiastic delight, when by moonlight they spent the first night amongst those 
 imposing ruins. 
 
 Though not yet perfectly well Thorwaldsen went with Baron Von Schubarth, 
 the Danish Ambassador at the Tuscan court, to Schubartii’s beautiful villa Montenero, 
 close by Leghorn. Here he was advised to visit the baths at Lucca, whither, accom¬ 
 panied by Schubarth, he immediately repaired. Strengthened by the baths both in 
 body and mind, Thorwaldsen began soon to long for occupation. The courteous 
 Baron procured for him clay and plaster, and our sedulous artist recommenced to 
 sketch. Here he modeled some small bass-reliefs representing Genii and Bacchantes , 
 which several bathing guests, amongst whom were many German and Florentinian 
 princes, highly admired. 
 
 When Thorwaldsen had been considerably benefited by the baths at Lucca,, he 
 went in September with Von Schubarth back to Montenero, where a studio was fitted 
 up for him. Grateful for the kindness shown him in Montenero, he commenced a 
 work of art wherewith he would surprise his hospitable hostess on her birthday, and 
 
18 
 
 Tab. 
 
 XVIII. 
 
 Tab. 
 
 XIX. 
 
 notwithstanding the frequent visits paid him he completed in nine days the beautiful 
 bass-relief representing 
 
 fiance of ilic pluses on futon. 
 
 (5 FEET X 2 FEET 4 IN.) 
 
 On a hillock the three Graces, Aglaia, Thalia and Euphrosyne are seen. Around 
 them the Pierian maidens (the Muses) are dancing, while Apollo sitting on the left 
 accompanies their dance by the tunes of his lyre. The swan, the bird of divination, 
 charmed by his music, glides gently over the unruffled water. Nearest to Apollo, 
 Euterpe is seen performing on two pipes at once. In front of her, Terpsichore beats 
 the cymbal, and behind, Erato is seen wreathed with roses. On the right the pensive 
 Melpomene steps forth m her tragic chlamys and with the mask on her head ; the 
 club lies at her feet, and with her right arm she embraces Clio, the Muse of history, 
 who holds the scroll in her hand. The gay Thalia grasps Melpomene’s left arm, 
 wearing on her head the mask of comedy, and in her left hand the pastoral staff. 
 Nearest to her Calliope is seen with the laurel wreath around her head, moving on 
 gravely and gracefully and grasping Urania’s left hand. Urania, visible between Clio 
 and Melpomene, bears the celestial globe, her eyes turned towards the perpetual 
 circular motion of the stars. On her head she wears the feather of a Siren, an emblem 
 of superiority, which all the Muses wore after they had been challenged by the Sirens, 
 (sea nymphs) to a contest in singing, in which they gained the victory. On the other 
 side of the Graces, behind Terpsichore, Polyhymnia is seen with the barbiton. 
 
 This bass-relief was executed in marble in the year 1807. 
 
 When the stipend with its prolongation was exhausted, Denmark expected to see 
 her young artist. However, the joyous rumor was soon heard that Jason had paved 
 for Tiiorwaldsen a glorious career. The government far from interrupting this by 
 untimely summoning him home, granted him even a sum of 200 species, and the 
 Academy of Florence honored him with a diploma as Professore deW iviperiale e reale 
 Accademia Florentina delle belle arti. 
 
 In his temporary studio in Montenero, Thorwaldsen also modeled a group 
 representing 
 
 €ttj»d and ftejrclte. 
 
 (4 FEET 3 IN.) 
 
 Psyche, the most lovely of mortals, was the daughter of a powerful monarch. 
 After suffering much from Venus’ jealousy she was finally transported to the Olymp 
 of the immortal gods. At length Venus became reconciled, the nuptials of Cupid and 
 Psyche were celebrated, and nothing disturbed any longer their eternal joy. 
 
19 
 
 Thorwaldsen has represented Cupid embracing the waist of Psyche with his left 
 arm, and with his right hand grasping her right which rests upon his shoulder. In her 
 left hand Psyche holds the nectarean goblet of immortality, which Cupid has reached her. 
 
 When this group had been cast, Thorwaldsen felt so well that he could leave 
 for Rome. 
 
 However, tne group was still so raw that he had to let it remain for a while in 
 Montenero. But no sooner had he left than a severe thunder and lightning destroyed 
 everything in Montenero. Only Cupid and Psyche were uninjured. This event, almost 
 seeming to be providential, became the subject of several Italian sonnets. 
 
 When at length the model had reached Rome in good condition, Thorwaldsen 
 executed one copy in marble for Countess Woronzoff, and one for Prince Putbus of 
 Riigen, a rocky island in the Baltic. 
 
 In Rome he completed in the spring of 1805, four statues in half-natural size, 1805 
 the sketches of which he had brought with him from Montenero. 
 
 1. lafdnts. Tab. 
 
 - XX. 
 
 (4 FEET 3 IN.) 
 
 Bacchus the god of wine and drunkards, leaning his hip on a trunk, holds in his 
 left arm the thyrsus, his attribute, and in the right hand a patera, into which he seems 
 to sink his voluptuous eye. His head is adorned with a diadem, around which a wreath 
 of ivy and vine leaves is twisted. Around his waist he wears a fawn-skin knit together 
 on his right shoulder. 
 
 This statue was first executed for Countess Woronzoff, and subsequently for 
 Baron Von Schubarth, but was, when Schubarth was summoned to Denmark, sold 
 to Prince Putbus. 
 
 2. Tab. 
 
 ^ XXL 
 
 (4 FEET 3 IN.) 
 
 Ganymede, the handsomest of mortal men, the cup bearer of the gods and the 
 favorite of Jupiter, holds in his left hand a patera filled from the tankard, which he 
 holds in his right. His head is covered with the Phrygian mitre ; over his left arm his 
 mantle is hanging, and Jupiter’s eagle is sitting at his foot. 
 
 This statue Thorwaldsen sculptured in marble for Countess Woronzoff. 
 
 3 . 
 
 (4 FEET 3 IN.) 
 
 Tab, 
 
 XXII. 
 
 The laurel-wreathed Apollo, the god of music, poetry, physic, and divination, is 
 standing with his lyre in the left arm, meditating on a soft lay. He holds in his right 
 
20 
 
 hand the plectrum up to his breast. He has just finished his lay which he is about to 
 recommence. 
 
 When this statue had been executed in marble for Countess Worqnzoff, the 
 model was set aside and no more used. 
 
 k ffttus with the 
 
 (4 FEET 3 IN.) 
 
 Eris, the Godess of discord, enraged at being the only one of the celestials who 
 had not received an invitation to the marriage of Peleus with the silver-footed Thetis, 
 contrived to throw into the assembly of thn Gods and Goddesses a golden apple 
 having the words: “Let it be given to the fairest,” inscribed upon it. Juno, Minerva 
 and Venus were unanimously acknowledged the most worthy to contend for the prize. 
 The Gods unwilling to interfere in so delicate a matter, referred the claimants to Paris 
 for his decision, who awarded the golden apple to Venus. Hence Juno’s unquenchable 
 hatred to Paris and the Trojans. 
 
 Tiiorwaldsen has represented Venus holding in her hand the prize of beauty she 
 had won. Her gown, which upon the request of Paris she took off, is thrown over a 
 trunk, while glad of her victory she lifts u‘p the apple in her right hand, and again 
 takes the gown with her left, to conceal her charms. 
 
 The first statue representing this subject, was executed in marble in half natural 
 size for Countess WoronzoeT, and the second for Mr. Von Popp of Mittau, Courland, 
 but soon after, when several other orders came in, Tiiorwaldsen commenced in January, 
 Tab. 1813 > another execution in full length (4 feet 11 in.), which was completed in May 1816. 
 ;XHI. For this statue in marble Tiiorwaldsen received two orders, one from Lord 
 Lucan and one from the Duchess of Devonshire. Lord Lucan went several times to 
 Italy to accelerate its completion, and at the same time he prevailed upon Tiiorwaldsen 
 to model four busts, one of his wife and one of each of his three daughters. 
 
 In the year 1824, this copy was ready to be shipped. It was packed, sent to 
 Leghorn and put on board; but four weeks after, the sad intelligence was received in 
 Rome that the ship had been wrecked and that Tiiorwaldsen’s Venus had gone to the 
 bottom of the ocean. However, like a genuine Anadyomene, Venus, (Aphrodite) 
 rose out of the sea and arrived safely in England. 
 
 In May 1805, Tiiorwaldsen was made a member of the Copenhagen Academy 
 of fine arts and appointed its Professor, and a diploma of August 16th, made him 
 Socio onorario dell ciccademia nazionale delle belle cirti in Bologna. 
 
 The talented Marquis Torlonia, who had embellished Palazzo Bracciano in Rome 
 with Canova’s famous group, Hercules and Lichas (Lichas was the servant of 
 
21 
 
 Hercules) requested Thorwaldsen to execute a colossal group as a rival piece to that 
 of Canova, leaving it to himself to select the subject. This commission must have 
 been a very acceptable one to our artist, the more so as lie had sketched two groups 
 which he wished to execute. Thorwaldsen took for his subject, Achilles and Penthisilea, 
 (Penthisilea was Queen of the Amazons, slain by Achilles), which he had sketched four 
 years ago. But he soon changed his mind and selected another subject: Mars and 
 Venus. Yet, when he had completed Mars with the exception of the right arm where¬ 
 with he should embrace Venus, this work was from unknown reasons suddenly 
 abandoned, and the almost completed model of Mars was used for a specific statue 
 which will be described hereafter. 
 
 It has been related in several periodicals that Thorwaldsen this year was busy 
 with the execution of a colossal statue, “ The Liberty ” ordered by the United States 
 of America, to be erected in Washington. This report, however, is only correct thus 
 far, that the execution of such a statue was negotiated between the United States 
 Consul in Leghorn and Thorwaldsen, but the statue was never executed. 
 
 Mention has also been made of a monument which a private society would erect 
 for Dante, in the church Santa Croce in Florence. The execution was instruted to 
 Thorwaldsen, but an unfavorable conjuncture of circumstances arrested its progress. 
 
 In the year 1807, Thorwaldsen received the first order from Denmark, when the 1807 
 Countess of Schimmelmann commissioned him to execute 
 
 fjf aptimal Jimt, 
 
 Tab. 
 
 XXIV. 
 
 which she would present to the church of Brahe-Trolleborg in the island of Fjunen. 
 This gave him not only an opportunity to execute a work of art for his fatherland, but 
 opened to him a new field in the Christian art. It consists of a parallelopipedon on 
 whose four sides four biblical scenes are represented. The front side represents 
 
 She fajitisni of (Christ. 
 
 (2 FEET 3 IN. X 1 FOOT 82 IN.) 
 
 Tab. 
 
 XXV. 
 
 Standing in the river Jordan, the Saviour bends himself, with his arms folded 
 across his breast, to receive from John the Baptist the symbol of initiation. To the 
 visage and attitude of Him who was meek and lowly in heart, the most beautiful 
 expression is given. The Baptist holding the agnusdei-staff in his left arm and 
 imbued with a deep feeling for his high calling, lifts with dignity a concha, wherewith 
 he pours the water of initiation over the Saviour’s sinless head. (This bass-relief was 
 
22 
 
 Tab. 
 
 XXV. 
 
 Tab. 
 
 XXVI. 
 
 Tab. 
 
 XXVII. 
 
 cast in silver by Louis Fortner of Prague, Bohemia, and exhibited in 1823). One 
 lateral piece represents 
 
 with the (Child g tm, and gohn. 
 
 (2 FEET 3 IN. X 1 FOOT 82 IN.) 
 
 Mary is absorbed in quiet meditation ; her arms, embracing Jesus, rest'in her lap. 
 The child, turning itself in the motherly embrace, stretches forth the left arm with 
 caresses towards little John who, with the agnusdei-staff in his left arm, lays quietly 
 and trustfully his right hand on Mary’s knee, and receives with adoration the child’s 
 caresses. 
 
 The other lateral piece represents 
 
 (Chcist fflfssiing the Cltildmt. 
 
 (2 FEET 3 IN. X 1 FOOT 82 IN.) 
 
 The very moment is represented when Christ pronounced the divine words, 
 “ Suffer the little children to come unto me.” The youngest of the little ones has 
 of its own accord run from its mother to the mild lover of children, to whose knees it 
 clings, while the elder one seems to be sent by its mother, who, after folding its hands, 
 takes it to the _ Master that it may receive his blessing. Christ himself has the 
 expression of the highest purity and meekness. 
 
 The reverse represents K j. 
 
 $ltm guvniug JUiplsf. 
 
 (2 FEET 3 IN. X 1 FOOT 82 IN.) 
 
 Whether or not the artist here has aimed at anything specific, we do not know, 
 but we are tempted to believe that the holy trifolium of the Christian virtues, Faith , 
 Hope and Charity , has been before his mental eye. 
 
 It did not take Thorwaldsen more than one year to execute the baptismal font 
 in marble, but from reasons unknown it remained in Borne until 1815, when it was 
 shipped to Denmark and placed in the church of Brahe-Tiolleborg, its place of 
 destination. 
 
 The deep love which Thorwaldsen felt for the remote island where the cradle of 
 his ancestors had been rocked, made it almost incumbent upon him as a duty to 
 transmit to those regions a salutation in the shape of a marble work from his own 
 hand. After his return to Borne from Denmark in 1820, he concluded, therefore, to 
 execute another copy of the baptismal font which he intended to present to the church 
 of Myklaby in Iceland. 
 
23 
 
 It was completed in the year 1827, and differs only from the preceding one by a 
 wreath of roses that lies upon and embraces the baptismal concave vessel, and by the 
 following inscription beneath the angels : 
 
 Opus hoc Romae fecit 
 Et Islandiac 
 Terras sibi gentilicise 
 Pietatis causa donavit 
 Albertus Thorwaldsen 
 Anno MDCCCXXVII. 
 
 However, this baptismal font which was executed in the finest marble, did never 
 see Iceland. A Norwegian merchant bought it and the inscription was effaced. 
 
 But in 1839 a similar one was executed and sent to the church of Myklaby. 
 
 After a short excursion during the hot summer season, Thorwaldsen returned in 
 September to Rome, deeply dejected in mind by the still uncertain accounts of the 
 cruel bombardment of Copenhagen by the English. 
 
 Besides the baptismal font, which was his most important production in 1807, he 1807 
 completed by this time his bass-relief “ The dance of the Muses on Helicon ,” which was 
 commenced in the year 1804. 
 
 In 1808, Thorwaldsen was received into the Academy San Luca , in Rome, as 
 Accademico di merito. 
 
 Thorwaldsen was still occupied with his baptismal font for the church of Brahe- 
 Trolleborg, when he received many important commissions from Denmark. The 
 palace of Christiansborg and the Copenhagen court house having again risen from their 
 ashes, gave the government a fair opportunity to employ its own son, who had already 
 so highly distinguished himself abroad, and Thorwaldsen was commissioned to execute 
 for the court house, two statues of the Greek Legislators, Solon and Lycurg , as also a 
 fronton for which he selected to represent in a bass-relief 
 
 gttjnto, IJlium'a, pcuicste, (Otcamis and the #aeth. ^ 
 
 Above the zodiac, Jupiter , the father of gods and men, is seen on his elevated 
 throne, holding a sceptre in his right hand and a thunderbolt in his left, while the 
 eagle, with expanded wings, stands at his feet. On the right, upon the pedesta lof the 
 throne, Minerva sits with an olive branch (the symbol of peace) in her hand; at her 
 foot stands her JEgis (shield) embossed with the terrific head of Medusa, and upon it 
 the owl, her favorite bird. On the left of Jupiter is Nemesis , the goddess of retribu¬ 
 tion, with the easily turning wheel of fortune, arranged in symmetrical proportion to 
 Minerva’s iEgis. Farthest to the left Oceanus, the sea-god, rests with his oar and the 
 
24 
 
 Tab, 
 
 XXIX. 
 
 Tab, 
 
 XXX. 
 
 inexhaustible urn, while gleeful dolphins play around him. On the right the Earth. 
 (gsea) is seen with the cornucopiae (the horn of plenty) in her hand, and the prolific 
 she-goat at her feet. 
 
 Thorwaldsen’s sketch of this work was modeled by his talented student, Mr. 
 Freund, but was never executed in marble, and when in 1819 he visited Copenhagen 
 and saw the two afore-mentioned buildings, he proposed to execute this bass-relief for 
 the frontispiece of the palace, and instead of it the judgment of Solomon for the 
 court house. But neither this nor the two statues of the legislators of Greece have 
 ever been completed, while his engagements for the palace proceeded far better. The 
 building committee had already then engaged Prof. Dajon to execute four statues for 
 the facade, representing Wisdom , Strength , Justice and Truth to be placed in the 
 four niches on both sides of the main entrance, while said committee engaged 
 Thorwaldsen to execute four globular bass-reliefs corresponding to those statues, but 
 no certain subject was prescribed for him, the selection being left to himself. 
 
 In regard to the statue of Wisdom, Thorwaldsen represented in his first bass- 
 relief the well-known myth 
 
 1. Iptima and §wwdlwus. 
 
 (Diam. 4 feet 9 IN.) 
 
 Prometheus, the son of Japetus, formed skillfully a man of clay and invited 
 Minerva to see it. Minerva, the goddess of wisdom, placed a butterfly, the image of 
 the soul, upon the head of the lifeless man of clay and animated him with fire, which 
 Prometheus by her aid had stolen from heaven. 
 
 Prometheus, who until the visit of Minerva had been busy with his work, now 
 rests with the formative stick in his hand and with his eye fixed upon the goddess. 
 She takes up her rich-wrought gown in her left arm, while with her right hand she 
 puts the butterfly, the image of the soul, upon the head of the statue. The man of 
 clay belonging to a generation inferior to gods and heroes, is represented in a minor 
 stature standing upon a small pedestal. The awakening life shows itself already in the 
 shrugging of the shoulders, and in the head turned towards the visage of the goddess. 
 
 The second represents 
 
 2. Hcmtles and §!*&*. 
 
 (Diam 4 feet 9 in.) 
 
 When Hercules, after the turmoil of his earthly life was translated to the skies 
 and raised to the rank of a god, Hebe, the goddess of youth, was given to him in 
 
25 
 
 marriage,—a beautiful fiction by which the venerable god was united to immortal 
 youth. From her hand he receives the nectar, which had the power of restoring 
 to youth. 
 
 In this work of Tiiorwaldsen, Hercules seems most beautifully to unite the image 
 of bodily strength to that of lassitude after the performance of his twelve celebrated 
 labors. The lion skin is there, but is fallen down and uncovers his vigorous body. 
 The indomitable club is there, but is now only a support for his feeble right arm, 
 and even the left, in which he holds the cup, is not stretched out to receive the gift 
 of the goddess, but rests bent upon his thigh. Hebe, with youthful elasticit}’, 
 attired in an elegant gown, approaches him with virgin modesty, and while with her 
 right hand lifting the vase to pour out the nectar, she fastens with her left the 
 position of the cup in the tottering hand of the hero. 
 
 The third represents 
 
 (Diam. 4 feet 9 IN.) 
 
 Tab. 
 
 XXXI. 
 
 ISTemesis, the goddess of retributive justice, recites to Jupiter, the judge of the 
 Supreme Court, all the deeds of men. Her right foot is placed upon the fatal wheel, 
 and her arm is resting upon a pillar, while she holds in her hands the scroll from which 
 she recites. Jupiter sits upon his awful tribunal, his right foot rests upon a footstool. 
 In his divine tranquillity of mind he listens attentively to the recitation, and pulls with 
 his left hand his thick beard, meditatively leaning his elbow upon his knee, while 
 the bade of the tribunal is encircled by his right arm, that holds the ever ready 
 thunder-bolt, which the eagle that stands close by recently kept in its talon. 
 
 The fourth bass-relief was to correspond to that statue which should represent 
 Truth , but the indistinctly written letters caused Tiiorwaldsen to read Sanity instead 
 of Truth, and whilst we don’t know whether this misunderstanding is a loss or a gain, 
 the sculptural work, however, which he executed, silences every complaint. 
 
 To represent Sanity, Tiiorwaldsen chose 
 
 4. JWsntlajmts anti ifintjcia. 
 
 (Diam. 4 feet 9 in.) 
 
 Tab. 
 
 XXXIL 
 
 Hygeia, the daughter of Aesculapius, approaches her father and gives the snake, 
 which is the emblem, of recovery of heal tip something to eat. Aesculapius himself is 
 represented sitting with his left arm wrapped up in his mantle and holding in his right 
 hand the staff round which the snake twists itself. Quietly and earnestly Hygeia 
 
26 
 
 approaches, taking with her left hand the snake to the cup, which with her right she 
 hands to it. 
 
 These four bass-reliefs were completed in the beginning of 1810. In the year 
 1825 they arrived in marble in Copenhagen, and were placed in the facade of the 
 palace of Christiansborg. 
 
 Another copy in marble was ordered by the Duke of Leuchtenberg, but it did not 
 reach Munich until after the death of the noble Duke, and it was, therefore, sold to 
 the Count of Schonborn to adorn his country seat at Geibach. 
 
 It has already been mentioned how the group Mars and Venus , which Thor- 
 waldsen, in 1805, commenced to execute for the Marquis Torlonia, became only a 
 single statue, representing 
 
 Tab. 
 
 XXXIII. 
 
 m 
 
 (8 feet.) 
 
 The god of war has returned from the din of battle. His spear rests inverted in 
 his left arm, over which his mantle has sunk down from his shoulder. The helmet lies 
 at his foot. His sword he has hung over the stem of a palm tree on which he leans, 
 and in his right he holds an olive twig, the emblem of peace. Love now beckons him 
 to milder pleasures, and Ajihrodite’s doves are already at his feet. 
 
 When the Bavarian Ambassador, authorized by the Crown prince Louis, by this 
 time engaged Thorwaldsen to execute a work of art for His Royal Highness, Thor- 
 waldsen proposed his Mars. The proposal was accepted, and in 1808 it was completed. 
 But meanwhile another statue arose in Tiiorwaldsen’s studio in Rome, which still 
 more attracted the general attention, and which the art-loving crown prince of Bavaria 
 so warmly admired that he preferred it to that of Mars. This statue represents 
 
 Tab, 
 
 XXXIV. 
 
 (5 FEET 11 IN.) 
 
 Adonis, a beautiful youth beloved by Venus, is represented resting himself after 
 hunting. His hip supports the left arm ; his right side leans upon a trunk, over which 
 he has thrown his mantle and hung a hare, his hunting booty. In his right arm rests 
 his javelin, turned towards the ground. 
 
 The model of this statue in preternatural size was commenced in the spring of 
 1808, completed in July, and in 1810 sculptured in marble. 
 
 While in 1820 Tiiorwalusen had left Rome, this celebrated work was very near 
 its destruction. By a collapse several statues, together with the floor, fell down and 
 
27 
 
 were greatly injured. Adonis stood on the frail boards close to the aperture and 
 would have been utterly destroyed had it not been for the presence of mind of some 
 of his students. 
 
 Adonis received from Canoya a still higher encomium than Jason and Mars. 
 Madam Brun tells us that when the model was completed she was surprised in Albano 
 by a visit from Canova. During a morning promenade in the beautiful Villa Doria, 
 Canova met her and asked, “ Avete veduto quell 1 ultima statuetta del vestro compatriota ? ” 
 that is : “Have you seen the last little statue of your countryman?” She answered 
 that the parching heat in Rome had prevented her from seeing it, when Canova 
 exclaimed with animation, “ questa statuetta e bella 6 nobile e plena di sentimento; il 
 vestro amico davvero 6 un uomo dvcino ! ” that is : This statue is beautiful, it is noble 
 and full of feeling! in truth your friend is a divine man and he exclaimed in French, 
 “ 11 est pourtant dommage queje ne sols plus jeune .” 
 
 Thoravaldsen was never idle. Before this year had expired, he executed a bass- 
 relief which ranks amongst the most celebrated of all his works. Deeply convinced 
 that in every artistic endeavor it is the spirit which suggests light and life to the 
 production, Thoravaldsen executed this highly ingenious Avork, which taking its rise 
 from an inner impulse to express that which most deeply moved his own soul, seems 
 rather to have been executed for himself than for others. 
 
 This work, which in all its grand simplicity, is the most demonstrative expression 
 of one of the highest ideas of the art, has been baptized by the appropriate name, 
 
 JV dfwio ffuttun. 
 
 (2 FEET 1 5 IN. X 2 FEET 10 IN.) 
 
 It represents the polite art, under the image of a woman in sitting attitude, that 
 leans her cheek on the left hand, and sketches on a slate that rests on the right knee, 
 which is laid across the left. At her side a pedestal stands, on which a lamp burns 
 that gives her light. At the foot of the pedestal Minerva’s oavI (the emblem of wisdom) 
 and a lyre are seen, by Avliich an allusion is made to the close union which exists 
 between literature and poetry. But neither those nor her deep meditation can achieve 
 anything, before the Avinged Genius has approached and poured oil into the lamp. 
 
 The first performance of this bass-relief is of a rectangular form, which Thor- 
 waldsen has unchanged reproduced in half size. Both are executed in marble, and 
 it has already been mentioned that Avlien Thoravaldsen sent his Jason to Hope , he 
 accompanied it Avitli a copy of this bass-relief. 
 
 Thoravaldsen soon srav that both the idea and the composition adapted it fbr a 
 medal, Avhich induced him to make still an alteration, by Avhich this artistic production 
 
 Tab, 
 
 XXXV. 
 
28 
 
 seems to have reached perfection. He made the pedestal smaller, which enabled him 
 better to group the figures of the woman and of the winged Genius. Thus he repro- 
 Tab. 1L duced it en medallion , after which the engraver Brandt of Berlin, in 1817, cut the 
 reverse of a medal on whose front side is seen the portrait of Thorwaldsen, with the 
 legend : A. Thorwaldsen , JDanus Sculptor. 
 
 1809 No small loss did Thorwaldsen the next year suffer by the death of George 
 Zoega. Though on account of his merciless criticism this man never pleased Thor¬ 
 waldsen, he confessed, however, willingly that Zoega’s deep insight and judicious 
 remarks had often been of incalculable benefit to him, and. when death at length 
 untied that tie of friendship, which founded on mutual esteem had long united them, 
 Thorwaldsen remembered him with lasting gratitude, showed the surviving children 
 an almost paternal affection, and modeled his bust and drew his portrait. 
 
 About this time the Russian General Balk who was then in Rome, requested 
 Thorwaldsen to execute a bass-relief, the subject of which was to be taken from the 
 6 th book of Iliad, v. 318-368. Thorwaldsen complied with the request and repre¬ 
 sented, in accordance with the text, 
 
 Tab. 
 
 XXXVI. 
 
 (2 FEET II 3 IN. X 2 FEET Is IN.) 
 
 Hector and Paris were the sons of Priam, king of Troy. Helena was the daughter 
 of Tyndarus and Leda, and wife of Menelaus. Her elopement with Paris was the 
 cause of the siege of Troy. She was the most beautiful woman of her age. 
 
 When Paris had to yield in his single combat with Menelaus, Aphrodite took him 
 aside to the castle, where in Helena’s embrace he forgot the combat in voluptuous 
 enjoyment. Meanwhile Hector, together with the Trojans, is pressed hard by the 
 Greek arms, and with his long spear he hastens angry to the castle, to summon Paris 
 to the combat. He finds Paris busy with his stately arms, and Helena he finds amongst 
 her handmaids. Then he accosts Paris with censorious words. 
 
 Paris is sitting on a large pedestal, by which Thorwaldsen designates the chamber. 
 Beneath his left foot he has a foot stool, and his right arm he leans idly on the back 
 of the chair, while the left rests remissly on his thigh. His head is drooped, and 
 without changing his posture he lifts his eye towards Hector. His weapons which he 
 has just been furbishing, are flung down at the side of the chair. At his left side Helena 
 is busy with her needle work spread over a basket. By bitter reproaches she has sought 
 to rouse her lover to manly conduct, but her beauty has not suffered thereby; she is 
 absorbed in the sweet tranquillity she enjoys in her chamber. At the entrance Hector 
 stands raging, with one foot inside of the threshold. On his head he has his helmet, 
 
29 
 
 in his right hand his huge spear. His sword hangs high below his heart, and his left hand 
 which he leans on his hip, has in the height of his passion been entangled in his mantle. 
 
 General Balk’s pecuniary circumstances had meanwhile undergone such an 
 unhappy change as to make it impossible for him to keep his contract and buy this 
 work, which, though elegantly executed in marble, had for several years to wait for 
 another purchaser, when finally J. Knudsen, a wealthy merchant of Drontheim, 
 Norway, bought it. 
 
 His Highness, Prince Malte Putbus of the island of Riigen, who, as before stated, 
 had bought Cupid and Psyche, now engaged Thorwaldsen to execute the following 
 four bass-reliefs • 
 
 l. ®ujtid, the jpon-Samee. 
 
 (1 FOOT 5 IN. X 1 FOOT 3llN.) 
 
 The God of love is here represented as the subduer of even the most ferocious 
 animals. With one hand he holds himself fast by the mane of the lion. In the other 
 he exultingly carries his arrow, by which he spurs on the lion. On his back, under his 
 wings, he carries his quiver. 
 
 a. She firth of jVpheeidtte. 
 
 (1 FOOT 5 IN X 9 IN.) 
 
 Aphrodite, the Greek name of Yenus, arose, according to the myth, from the 
 foam of the sea. She is generally represented opening a concha, in which she is 
 carried to the shores of Cyprus ; for the fable says that it was to the shores of this 
 island that the waves of the sea gently carried her, after she had risen from its foam. 
 
 Thorwaldsen has represented the goddess at the very moment when she the first 
 time views the world which she is destined to rule. With her left hand she still holds 
 the concha that recently was her shelter. As soon as she drops it, she enters newborn 
 into the world. With the right hand she wipes her wet locks. On both sides of the 
 concha a dolphin is symmetrically placed. 
 
 The subject for the third bass-relief Thorwaldsen took from the 40th ode of 
 Anacreon. 
 
 3. dtojntl ^founded Iw the fee. 
 
 (1 FOOT 8 IN. X 1 FOOT 63 IN.) 
 
 Thus read the words of Anacreon, metrically translated by Thomas Moore : 
 
 “ Cupid once upon a bed 
 Of roses, laid his weary head ; 
 
 Tab. 
 
 XXXVIL 
 
 Tab. 
 
 XXXVIIL 
 
 Tab, 
 
 XXXIX, 
 
30 
 
 Luckless urchin, not to see 
 Within the leaves a slumbering bee. 
 
 The bee awaked—with anger wild, 
 
 The bee awaked and stung the child. 
 
 Loud and piteous are his cries, 
 
 To Venus quick he runs—he flies— 
 
 ‘Oh mother!—I am wounded through— 
 
 I die with pain—in sooth I do! 
 
 Stung by some little angry thing, 
 
 Some serpent on a tiny wing— 
 
 A bee it was—for once I know 
 I heard a rustic call it so.’ 
 
 Thus he spoke, and she the while 
 Heard him with a soothing smile. 
 
 Then said, ‘ My infant, if so much 
 Thou feci the little wild bee's touch 
 How must the heart, oh Cupid! be 
 The hapless heart that’s stung by thee ! ’ 
 
 The idea pervading this beautiful little poem Tiiorwaldsen has embodied in 
 marble. With the plucked off rose-in his left hand Cupid.clings in his pain to the 
 knee of his mother. Weeping he stretches his wounded 'finger towards her, as if he 
 wished her to breath on it; but Yenus grasps his little hand with a smile, in which her 
 answer is plainly expressed. Behind Cupid, a rosebush is seen, over which the bee 
 flutters ; close to Yenus the Dionean pair of doves are seen, by which her chariot 
 was said to be drawn. 
 
 The fourth bass-relief which Thorwaldsen executed for the Prince, represents 
 
 Tab k ||twitnr, fkethus and fun. 
 
 VT 
 
 U ‘ (1 FOOT 65 IN. X 1 FOOT 8 IN.) 
 
 When Jupiter for three months had hidden the infant Bacchus from the jealousy 
 of Juno, he sent Mercury with the child to Semele’s sister, Ino, Queen of Bacotia, to 
 orevail upon her to bring up the child. 
 
 Ino is represented sitting with a fawn-skin over her arms, in which she receives 
 the child that from the hands of Mercury stretches itself towards her. A copy of this 
 bass-relief was ordered by Lord Lucan. 
 
 1810 I n the beginning of the year 1810, Tiiorwaldsen, who by this time was honored 
 by the King of Denmark with the Golden Cross of Dannebroge, was occupied with the 
 
31 
 
 execution in marble of the bass-reliefs which had been ordered for the facade of the 
 palace of Christiansborg. 
 
 He had long been intimately acquainted with Cammuccini, the great Italian 
 
 painter of historical representations. He concluded to sculpture in marble the bust 
 of this great artist, which he finished this year in the month of March. 
 
 About this time, Thorwaldsen together with Rauch, a younger sculptor, 
 undertook to repair a handsome and valuable bass-relief which half a century ago 
 had been found in Villa Palombara, representing the three Fates : Clotho, Lachesis 
 and Atropos. This work of art Madam Yon Humboldt had bought from the family 
 Massimi, and given it in charge to Thorwaldsen for restoration. 
 
 But before the end of this year, our artist undertook another work, which for his 
 own personal history is of great value. The Danish Consul-General West in Paris, 
 just then sojourning in Rome, wished to possess a colossal bust of Thorwaldsen Tab. I. 
 himself in marble, and asked him to sculpture it. No doubt, Thorwaldsen accepted 
 with great pleasure this homage, and already in the month of June the bust was cast 
 in plaster. However, it was not sculptured in marble before 1815, when West 
 revisited Rome, and when he some years after died, the bust was sold to the King of 
 Denmark. It remained in Thorwaldsen’s studio in Rome until the year 1825, when 
 it was shipped to Denmark and by the King presented to the Academy of fine arts. * 
 
 In addition to this Thorwaldsen finished, in the spring of this year, the bust of 
 the handsome and gifted Miss Ida Brun, afterwards Countess of Bombelles. 
 
 Only those busts were this year exhibited in the Roman Capitolium, and as the 
 heat in summer is very oppressive and disagreeable in Rome, Thorwaldsen gave his 
 chisel rest and went to his friends in Montenero, whence he returned in October and 
 commenced several important works of art, of which the first was a bass-relief 
 representing 
 
 Tab. 
 
 LXi 
 
 (2 FEET 4 IN. X 1 FOOT 82 IN.) 
 
 The God of wine, wreathed with ivy and grapes in the rich locks, rests upon one 
 of the rocks of the isle of Kaxos, over which a tiger skin is spread. His soft, effemi¬ 
 
 nate body is only half covered by his mantle, behind him lies the thyrsus, his attribute. 
 
 In his left hand he holds the urn, whilst his arm is leaning on the rock. With the 
 
 * Besides his bust has been executed by Rauch, Schadow, Wolff, Tenerani, Bissen and Bokup. He has 
 been painted by Eokeesberg, Begas, Yogel, Heinrich Hess, Senff, Hoenemann, Lindau. Blunok, Jensen, 
 Horace Vernet and Gertner. His portrait is engraved in steel by Amsler, Clemens and Heuer, and during bis 
 last visit in Copenhagen, Thorwaldsen modeled hi3 own portrait in full size, leaning upon the genius of hope. 
 
32 
 
 right arm, whose elbow leans upon his hip, he hands Cupid the bowl. The little 
 winged god lusting after the verjuice that makes him forget his quiver, grasps the bowl 
 with both hands. At the foot of the rock on which Bacchus, half sitting, half lying, rests, 
 a spotted panther has taken its seat, to catch the drops flowing down from the tankard. 
 
 This handsome bass-relief was executed in marble for J. Knudsen of Drontheim, 
 Norway, and has found a eulogist in every competent connoisseur. 
 
 The next work which Thorwaldsen executed after his return to Rome from 
 Montenero, was a bass-relief representing 
 
 Tab. 
 
 XLIL 
 
 Thorwaldsen has here not only represented motherly love, but at the same time 
 Christian charity. “Now abideth faith, hope, charity, these three, but the greatest 
 of these is charity.” 1 Cor. xiii. 13. 
 
 The young, handsome mother presses with motherly tenderness her one child to 
 her bosom, while the other child gently takes her to a suffering fellow being. She is 
 represented walking fast, for love is ardently disposed to render speedy assistance. 
 The boy going in advance, in whose visage the intercession of his innocent heart is 
 expressed, pulls his mother’s gown and draws her after him. He stretches out his left 
 arm and points with his fore-finger to the object of their walk. 
 
 The first sketch of this bass relief was made, when the baptismal font for the 
 church of Brahe-Trolleborg occupied Thorwaldsen’s time, but was then supplanted 
 by the more Biblical subject: Mary with the child Jesus , and John. 
 
 But in the year 1810, Thorwaldsen resumed this work, and executed it the first 
 time in marble for the Marquis of Landsdown. 
 
 Some years after an opportunity offered itself to him to execute it the second 
 time in marble. The use he made of this marble copy clearly manifested his devotion 
 to the afflicted portion of humanity, and that he subscribed to the words of the English 
 writer, Stillingfleet : “A man must have great impudence to profess himself a 
 Christian, and yet to think himself not obliged to do acts of charity.” 
 
 A Norwegian civil officer, and father of a large family had been so unfortunate 
 as not to be able to give account for money received. He was imprisoned, and saw 
 no means of liberation, unless some friends of humanity who knew his respectable 
 antecedents, would furnish the sum necessary for his liberation. 
 
 Thorwaldsen was not personally acquainted with the unfortunate man, but no 
 sooner was the event with all its sad details related to him, than he offered his Caritas 
 
 tote (Chrotir.) 
 
 2 FEET 12 IN. X 1 FOOT 5 IN. 
 
33 
 
 in marble to those who interested themselves in the unhappy man’s liberation. But 
 before this beautiful work of art had found a purchaser, the sufferer died. 
 
 This noble act was mentioned in Revue Encylop, 1823 T. XVIII. page 442, in 
 Andre Hesperus, 1823, 33d vol. No. 219 ; in the Copenhagen Evening Post, 1822 ; 
 and in the Copenhagen “Dagblad” was printed Thorwaldsen’s letter to the unfortu¬ 
 nate man, dated Rome, May 24th, 1822. Ibid, 1823, No. 104 was an invitation in 
 Latin from several Norwegians to purchase this marble work. 
 
 Besides this work, we have this year from Thorwaldsen’s hand a bass-relief that 
 represents 
 
 ©ujiirt and fsgthe. 
 
 (2 FEET 7 IN. X 1 FOOT 7 IN.) 
 
 Tab. 
 
 XL1IL 
 
 One of the most charming fictions transmitted to us from antiquity, amongst 
 others from the writer Apuleius, who lived during the reign of the Roman Emperor 
 Hadrian, 117 A. D., is that of Cupid and Psyche. Psyche, who had already under¬ 
 gone severe trials, was ordered by Venus to descend into Orcus itself, and to fetch 
 from Proserpina, the Queen of hell, a box containing the highest charms of beauty. 
 Psyche obeyed the behest of the jealous and cruel goddess, surmounted all difficulties, 
 and ventured down to the gloomy regions. The box was delivered to her, but with 
 the strict injunction not to open it. But scarcely had she left the dominions of Pluto, 
 when curiosity induced her to open the box. She was instantly involved in a noxious 
 vapor, that made her unconscious, and she would never have risen again, had not 
 Cupid, her invisible protector, hastened to her assistance. He restored her to life, 
 collected the vapor again into the box, and conducted his dear Psyche safely to the 
 throne of Jupiter, there proclaiming her his lawful wife and supplicating for her 
 admission among the immortals. Jupiter complied with his request. 
 
 Thorwaldsen has represented the very moment, when Cupid hastens to assist 
 Phyche. He has already half raised her beautiful body from the ground, and while by 
 his knee on which she leans her right arm, he holds her erect, he stretches out his left 
 to remove the box from which the noxious vapor emanated. With his right hand he 
 takes an arrow from his quiver that by touching her breast with its point he may 
 restore her to life. Cupid has laid aside his bow, and with his expanded wings he 
 fans away the noxious vapor. Psyche whose head rests on his shoulder, is half muffled 
 up. In one hand she holds the box, in the other its lid. 
 
 A copy in marble of this work was bought by a Mr. Dalmar, a lover of science 
 and the arts. 
 
34 
 
 But Thorwaldsen soon executed another bass-relief no less remarkable, 
 representing 
 
 fttkro, Vmts, (ftijiid and maw. 
 
 (3 FEET 62 IN. X 2 FEET 6 IN.) 
 
 The 45th ode of Anacreon suggested the subject to him. Thus sound the words 
 of Anacreon, translated by Thomas Moore : 
 
 “As in the Lemnian caves of fire, 
 
 The mate of her who nurs’d desire, 
 
 Moulded the glowing steel, to form 
 Arrows for Cupid, thrilling warm; 
 
 And Venus every barb imbues 
 With droppings of her honied dews; 
 
 While Love (alas! the victim heart), 
 
 Tinges with gall the burning dart; 
 
 Once, to this Lemnian cave of flame, 
 
 The crested Lord of battles came ; 
 
 ’Twas from the ranks of war he rushed, 
 
 His spear with many a life-drop blushed! 
 
 He saw the mystic darts, and smiled 
 Derision on the archer-child. 
 
 ‘ And dost thou smile ? (said little Love), 
 
 Take this dart, and thou may’st prove, 
 
 That tho’ they pass the breezes flight, 
 
 My bolts are not so feathery—light.’ 
 
 He took the shaft—and oh ! thy look 
 Sweet Venus! when the shaft he took- 
 He sigh’d—and felt the urchin’s art— 
 
 He sigh’d in agony of heart: 
 
 ‘It is not light—I die with pain— 
 
 Take—take thy arrow back again,’ 
 
 ‘ No,’ said the child—‘ it must not be, 
 
 That little dart was made for thee! ’ ” 
 
 In accordance with this poem Thorwaldsen has on the left side of this bass-relief 
 rperesented Vulcan, the lame god of fire, the inimitable artist of Lemnos, who bow- 
 bent and absorbed in his work, is forging an arrow for Cupid. On his head he wears 
 a round cap ; his left hand holds with his pincers the arrow to the anvil. His mantle 
 hangs down from the left shoulder around his waist where it is tied together ; the right 
 arm lifts the hammer. The lameness of Vulcan, the artist has happily expressed by 
 placing the shorter leg upon the foot of the anvil. Nearest to him Venus sits half 
 
35 
 
 covered by her gown, her right foot bearing the left, rests on the anvil. On her knee 
 she holds fast in the left hand a bowl with honey, in which Cupid has mixed some gall 
 into which she dips the forged arrows. Her eyes meet Mars, the god of war, who 
 has just stepped in and laid down his helmet. He wears his mantle on the left arm, 
 which he leans upon his hip. In his right hand he holds one of Cupid’s poisoned 
 arrows, as if he would give it back, while at the same time he tries how heavy it is. 
 But Cupid, who stands between him and Yenus, and has robbed him of his spear says: 
 “ Ho, it must not be, that little dart was made for thee.” Beneath the chair of Venus, 
 the loving pair of doves are seen 
 
 This bass-relief was sculptured in marble for a Mr. Alexander Bille. The 
 composition of this work recalled Thorwaldsen’s mind to the statue of Mars, men¬ 
 tioned among his works of the year 1808, and inspired him with courage to re-mold 
 it into a group, representing 
 
 fgte and (Cupid 
 
 (8 FEET.) 
 
 In this group Thorwaldsen has represented the main idea of the above-stated 
 ode of Anacreon. 
 
 Mars had received one of Cupid’s arrows to try its weight. He will give it back, 
 but Cupid answers him knavishly : “Ho, keep it, that little dart was made for thee.” 
 
 The alteration which Thorwaldsen had made in the attitude of Mars, consists 
 mainly in his head being bent towards Cupid, and in his right hand being a little raised, 
 in which he weighs the arrow. Cupid crowned with roses, has thrown away his quiver, 
 holding instead of it the heavy sword of Mars, while with his finger on his chin he 
 sends an exulting smile to mighty Mars. 
 
 This colossal group was at Thorwaldsen’s own expense executed in fine marble. 
 
 The rural life in Montenero, whereto Thorwaldsen the previous year had taken 
 refuge, to avoid the Roman aria cattiva, is represented in two small, but beautiful 
 works, that give us an image of the quiet rural life in which the most beautiful genii 
 of nature had undisturbed played around him. To represent this, he made in his 
 studio in Montenero two sketches, Summer and Harvest, which after his return to 
 Rome, in the year 1811, were executed in bass-reliefs 
 
 1. J>umttUT. 
 
 (2 FEET 4\ IN. X 1 FOOT 7 IN.) 
 
 Two boys are plucking pears. A basket full of them is placed by the pear tree. 
 One boy holds on to the basket with the right hand, and bears on his shoulders the 
 
 Tab. 
 
 XLV, 
 
 1811 
 
 Tab. 
 
 XLYI, 
 
36 
 
 other boy, who clinging fast to a branch, grasps the fruit with his left hand. A Cupid 
 is hovering down to them, caressing a swan, whose neck he tenderly presses to his 
 bosom. Behind this group, the ripe corn with its undulating ears is seen. 
 
 Tab. 
 XL VII. 
 
 2 . 
 
 (2 FEET 41 IN X 1 FOOT 7 IN.) 
 
 This idea has often been represented in the antique art, but hardly anywhere 
 more beautifully than here. In one of his odes Anacreon requested Hephaistos 
 (Vulcan), to form a silver cup imaging Cupid, Bacchus and Bathyllus, Anacreon's 
 favorite, busy with pressing grapes in the shade of the vines. Thorwaldsen followed 
 this allusion. His bass-relief is on both sides filled with branches heavy with grapes. 
 An amphora stands on the right side close to the filled grape vessel, into which Cupid 
 and Bacchus, while dancing and embracing each other, press the grapes, while 
 Bathyllus pours from the upset basket his harvest into the vessel. These two bass- 
 reliefs were executed in marble, in the year 1811, for Count Schonborn. Some time 
 after, Thorwaldsen completed the two corresponding ones, representing Spring and 
 Winter. The latter was finished in 1824, and will be mentioned in its proper place. 
 
 About by this time Thorwaldsen executed his celebrated 
 
 Tab. 
 
 XLVIIL 
 
 
 ausfllotm Jhtijttsta Rohmer, 
 
 upon the request of Prof, and Aulic Councilor F. W. J. Schelling, who had been 
 arried to the mother of Augusta. 
 
 Augusta Bohmer was daughter of Dr. Bohmer in Clausthal; her mother, known 
 as an authoress under the name of Caroline Schelling, was daughter of the learned 
 Prof. Michaelis of Gdttingen. After Bohmer’s death, she married A. W. Schlegel, 
 which marriage, however, was soon dissolved, and the third time she married Prof. 
 F. W. J. Schelling. She died in 1809. 
 
 Augusta Bohmer, a fruit of the first marriage, was actress in Weimar. She was 
 not distinguished by her beauty, but by great amiability, which made her adored in 
 the literary circle in which she moved. 
 
 Her early death was accompanied by a peculiar circumstance, which induced 
 Thorwaldsen to make one of his finest compositions. Augusta’s mother became 
 dangerously ill. The daughter accompanied her to Booklet, a Bavarian watering 
 place, where she nursed her excellent mother with so great self-sacrifice, that she took 
 ill herself and died, while her mother was restored to health. 
 
 This mausoleum, by which Thorwaldsen in a certain degree has immortalized 
 
37 
 
 filial love, consists of three bass-reliefs. The main part (2 feet by 2 feet 7 in.) repre¬ 
 sents the feeble mother sitting on a seat that bears the staff of Aesculapius, the symbol 
 of the beginning recovery. Augusta stands before her as an Hygeia, handing with 
 both her hands the bowl to her mother, from which she imbibes life and health. But 
 the snake of Hygeia (her attribute), that saves the mother, kills the daughter by craftily 
 wounding her in the heel. One lateral piece, (1 foot 63 in. by 2 feet 7 in.) represents 
 the winged Nemesis, that records the great self-sacrifice, which filial love has brought; 
 the other lateral piece (1 foot 63 in. by 2 feet 7 in.) represents the genius of death 
 wreathed with poppies, leaning quietly and wofully his arms and his head upon an 
 inverted flambeau. 
 
 The last mentioned bass-relief, the genius of death, Thorwaldsen reproduced in 
 marble for Captain Falsen, who again sold it to the wealthy Mr. Donner of Altona, 
 who wished it for a mausoleum over his deceased wife. 
 
 As in the previous year the Anacreonteon bass-relief: Vulcan, Venus, Cupid 
 and Mars evoked a larger work of art, so also Cupid and Psyche, which the same year 
 occupied Thorwaldsen’s time, induced him to execute a statue representing 
 
 Isudtc with the fta. Tab. 
 
 s & XLIX. 
 
 (4 feet 3 in.) 
 
 The winged Psyche shows herself here as the most beautiful image of female 
 youthfulness. On her way to Orcus, the lower regions, into which she was ordered by 
 Venus to descend, Proserpine delivered to her the well-known box that contained the 
 highest charms of beauty. From an unconquerable curiosity Psyche halts in the 
 middle of the way, holding the box between her hands, undetermined whether or not 
 to open it. 
 
 This statue, in half natural size, was bought by a Mr. Hope of England, a brother 
 of Sir Thomas Hope, who occupies so conspicuous a place in the history of our artist. 
 
 In the year 1811, Thorwaldsen executed still another statue, representing 
 
 Tab. L. 
 
 (4 FEET 4 IN.) 
 
 Cupid or Eros, the all-conquering god, is here by plastic art portrayed with a 
 wreath of roses, leaning on a stem of a tree over which the lion skin of Hercules 
 hangs. In his right hand he holds a butterfly by its wings, and while looking upon it, 
 he takes with his left an arrow from his quiver, in order to torment the butterfly with 
 the point of the arrow. The lion skin, of which he has deprived Hercules, is 
 emblematic of Cupid as the vanquisher of bodily strength, while the threat of 
 
38 
 
 tormenting the captive Psyche with the point of the arrow, (the name Psyche 
 signifying both a butterfly and the human soul), is emblematic of him both as the 
 master and tormentor of the soul. 
 
 This statue was sold to an art-loving gentleman in Courland. The composition 
 of this ingenious work seems, however, never fully to have satisfied Thorwaldsen, for 
 after some years the idea, in his opinion, too feebly expressed here, was reproduced 
 more effectually in another statue, that represents Cupid Triumphant. 
 
 The Royal Academy of fine arts in Berlin honored Thorwaldsen this year by 
 conferring upon him a diploma of August 28th, 1811, which made him an ordinary 
 member of this celebrated Academy. 
 
 In the course of the year 1811, marble was discovered in Norway which was 
 considered fit for sculptural works. A sample was sent to Rome, and Thorwaldsen 
 declared it to be just as good as that from Carrara. It was now a general wish in 
 Denmark that Thorwaldsen should return to his native country, to execute in Northern 
 marble, immortal works for the embellishment both of the capital and of the Royal 
 palace. This wish was communicated to him in December 1811, in an autograph 
 letter from His Royal Highness, Prince Christian, afterwards King of Denmark, under 
 the title of Christian YIII. 
 
 The reply which Thorwaldsen gave the Prince, breathed the warmest patriotism 
 and a deep longing for his home, and though at present he was obliged to remain in 
 Rome, on account of the many works of art, in the execution of which he had engaged 
 himself, as also on account of his public function as Professor at the Academy of San 
 Luca, he promised, however, to take pains to remove all impediments, hoping, as he 
 expressed himself in his answer to the Prince, in the summer of 1813, to resalute the 
 Danish champaign country. But just when he was striving to remove those impediments, 
 an event took place in Rome which made it almost impossible for him to leave Italy. 
 
 At the close of 1811, an imperial decree directed that the papal residence on 
 Monte Cavallo should be fitted up in the most costly style for a palace for Napoleon 
 Bonaparte, the Emperor of France, who then had conquered the greatest part of Italy. 
 An imperial palace on the Quirinal Mount appeared to the Romans as a glimpse of 
 their ancient splendor, and an enthusiasm arose spreading itself from the greatest 
 artist to the plainest mechanic. 
 
 Meanwhile Thorwaldsen had again been severely ill, and as he would not deprive 
 any native artist of an occupation of which he stood less in need than many others, he 
 wished his name suppressed in connection with the works of art, which onvthis occasion 
 were to be executed. But as it was directed to have the palace completed in May 
 1812 1812, the architect Stern, who superintended the whole work, felt the absolute 
 necessity of employing every means possible. 
 
39 
 
 Then it should happen that at a meeting in the Academy of San Luca a seat 
 close to Thorwaldsen was assigned to Stern. During the conversation which easily 
 was started between them, Stern proposed to Thorwaldsen to execute a cornice or 
 frieze with ornaments of sculpture, for one of the apartments of the Quirinal palace, 
 and though only three months could be granted him to complete it in plaster, 
 Thorwaldsen made up his mind to engage himself in the execution of this enormous 
 work. It is a composition of great extent, measuring 160 Roman palms (a palm is 
 about 9 inches) in length and 5 inches in height. * 
 
 Thorwaldsen selected for his subject, doubtless not without some allusion to 
 Napoleon Bonaparte, the greatest triumpher of modern history, 
 
 (Rr Imnnjitart of JMcxanto into ffAgltm. 
 
 Within three months of the date of the commission, in the month of June, the 
 frieze in plaster was fixed up in one of the halls of the Quirinal palace, exciting the 
 greatest admiration of all who saw it. This great work christened Thorwaldsen by 
 the baptism of art; the Italians gave him the name, The Patriarch of fine Arts , and 
 he acquired such a fame, says an English writer, as no man has had since the day of 
 creation. 
 
 No sooner had Denmark heard of this masterpiece than the building committee 
 of Copenhagen ordered in December 1812, a copy in plaster for the palace of 
 Christiansborg. However, this did not seem fully to have satisfied Thorwaldsen, who 
 wished to immortalize his work in marble. However, this wish was soon gratified, for 
 although Denmark’s financial condition did at that time not very well justify the great 
 expenditure of 16,000 species, which was the sum Thorwaldsen asked for the execu¬ 
 tion of his work in marble, the government, finally resolved, in October 1818, to 
 commission him to execute it in marble for the sum mentioned. 
 
 Thorwaldsen had in the meantime received an order for the first copy in marble 
 from Count Sommariva. When he had bound himself to execute this order, he con¬ 
 cluded, especially as the space marked out for him from Denmark required an 
 extension of the bass-relief, to give the copy for -the palace of Christiansborg a 
 peculiar innovation by several additions. 
 
 The first copy in marble destined to adorn Sommariva’s beautiful villa on the 
 Lago di Como, was instantly commenced. 
 
 * Besides Thorwaldsen, the following artists were engaged: Finelly of Carrara, who executed Ceasar’s 
 Triumph in a frieze, Alvarez, a Spaniard, who executed another frieze, and the Roman sculptor, Massimiliano 
 Labourbur, who in a frieze represented the exploits of Lorenzo of Medicis. 
 
40 
 
 But soon after, Thorwaldsen commenced an entire new execution of the same 
 frieze, in half height, which lie wished to give the highest perfection possible, as the 
 first one was, in his own opinion, executed with too much haste and expedition. In 
 this minor copy he remodeled the whole frieze and made all the alterations which his 
 own almost infallible eye for the beautiful, as also the space marked out for him in the 
 palace of Christiansborg, impelled him to make. 
 
 When Sommariva had been informed of those alterations, which Thorwaldsen 
 intended to make in the copy ordered for the royal Danish palace, he politely 
 requested the artist to give the copy which he had ordered, a share in the intended 
 alterations. Thorwaldsen not only consented, but affixed to the copy destined for the 
 Count even an extra appendix of great artistic value. 
 
 Thus we have four different executions of Alexander’s Triumphal Entry into 
 Babylon : 
 
 1. The Quirinal Copy , which in a certain degree can only be considered a sketch 
 
 2. The Sommariva Copy , characteristic by the extra appendix affixed to it. 
 
 3. The Elaborate Copy , enlarged by several pieces, executed in half height, and 
 finally 
 
 4. The Christiansborg Copy , of the same height as the Quirinal copy. 
 
 The description of Alexander’s triumphal entry into Babylon given by the Latin 
 writer, Curtius, in his 5th book, 1st chapter, Thorwaldsen has strictly followed for 
 his grand representation. Thus read the words of Curtius : 
 
 “ Babylonem procedenti Alexandra Mazseus, qui ex acie in urbem earn confugerat cum adultis liberis 
 supplex occurrit. Gratus adventus ejus fuit regi, quippe magni operis futura erat obsidio tam munitas urbis 
 Ad hoc vir illustris, et manu promptus, famaque etiam proximo proelio celeber, et ceteros ad deditionem 
 incitaturus exemplo suo videbatur. Igitur hunc quidem benigne cum liberis excepit Alexander. Magna 
 pars Babyloniorum constiterat in muris, avida cognoscendi novum regem ; plures obviam egressi sunt, inter 
 quos Bagopbanes, arcis et regia:; pecunice custos, ne studio a Maza:;o vinceretur, totum iter floribus coronisque 
 constraverat, argenteis altaribus utroque latere dispositis, qua non thure modo, sed omnibus odoribus 
 cumulaverat. Eum dona sequebantur greges pecornm equorumque, leones quoque et pardales caveis 
 proferebantur, Magi deinde suo more patrium carmen canentes. Post hos Chaldsei Babyloniorumque non 
 vates modo, sed etiam artifices cum fidibus sui generis ibant. Equites deinde Babylonii sequebantur 
 ornatissimi. Bex armatis stipatus oppidanorum turbam post ultimos pedites ire jussit. Ipse cum curru 
 urbem ac deinde regiam intravit.” 
 
 We subjoin an English translation of the Latin text: 
 
 “ As Alexander was proceeding towards Babylon, Mazgeus who had fled fhither 
 after the battle, came with his adult offspring, humbly supplicating, and tendered the 
 surrender of the city and of himself. His arrival was agreeable to the King, for the 
 siege of a city so strongly fortified, would be a tedious operation ; besides he was a 
 
41 
 
 celebrated and brave man, and had distinguished himself in the recent action, and b 7 
 his example he would probably induce the others to surrender. Alexander received, 
 therefore, both him and his children with kindness. Great many Babylonians had 
 placed themselves on the walls, eager of beholding the new King, and a greater number 
 had gone out to meet him, amongst whom was Bagophanes, custodian of the castle 
 and of the royal treasury. In order not to be excelled in courtesy by Mazceus, he had 
 strewed the whole road with flowers and wreaths, and had on both sides placed silver 
 altars, which he had loaded not only with frankincense, but with all kinds of odorous 
 spices. For gifts he brought with him cattle and horses ; and lions and she-panthers 
 were taken out of their cages. Then the Magi (Persian priests) came singing, 
 according to their custom, patriotic songs. After them the Chaldeans came, and not 
 only the Babylonian prophets, but also musicians, each with his own instrument 
 proceeded in solemn procession. Finally the Babylonian cavalry appeared, costly 
 attired. The King, surrounded by his soldiers, commanded the multitude of the 
 inhabitants to proceed in rear of the infantry. In a chariot he entered the city and 
 took up his residence in the royal palace.” 
 
 We now proceed to give an explanatory description of the engravings pertaining 
 to this sublime and imposing work of art. 
 
 t Tab. 
 
 LI. 
 
 The frieze begins with a palm, the symbol of peace and victory, which over¬ 
 shadows a market place at the river side. The caravan that passes by, had called off 
 the laborers, and the little camel-driver, who had come with his beast of burden to 
 receive the disembarked commodities, must wait. Meanwhile a boy has climbed up to 
 the neck of the camel, whence he crawls up on the bunch, better to see the caravan. 
 
 Close by the camel, a youth and a little boy are standing, both of them directing their 
 attention to the same obiect 
 
 II. Tab. 
 
 LIL 
 
 Here the frieze commences with a group of palms, one of which torn up by the 
 roots, reminds of the devastating war. A fisherman is sitting undisturbed at the 
 river side, taking in the draught, which he has Caught by the aid of his line. He 
 observes nothing yet, but the sharp-hearing dog turns himself and growls in a low 
 key, when hearing the bustle of the passing caravan. 
 
 It was told in Rome that when Thorwaldsen shaped the head of the fisherman, 
 he thought of the portrait of Napoleon, who then formed a striking temporal contra¬ 
 distinction to the spiritual fisherman, the Apostle St. Peter, whose position as bishop 
 of the church, Napoleon, though in a very different sense, now occupied. Notwith- 
 
42 
 
 
 standing such a practical joke might resemble Thorwaldsen’s sometimes sarcastic 
 mood, we can by no means warrant the truth of this anecdote. 
 
 Tab, 
 
 LIU 
 
 III. 
 
 A Persian merchant has, from fear of the approaching army, embarked his costly 
 merchandise, to flee to the other side of the river. He has thrown his cloak over the 
 bales, and when the boatswain has thrust the vessel from the shore, he vents his 
 grevous heart by telling the old indolent rover the danger in which his merchandise 
 has been. 
 
 Tab. 
 
 LIY» 
 
 IY. 
 
 The old Euphrates, wreathed with aquatic plants, is sitting here, leaning upon the 
 inexhaustible urn. The oar, which he holds in his right hand, signifies the naviga¬ 
 bleness of the river, and the ears, which he holds in his left, are emblematic of the 
 fertility of the country. Behind, the Bulustower reminds of Babylon. 
 
 Tab- 
 
 LY. &LYL y 
 
 (a. & b.) 
 
 Below the broad walls of Babylon, behind which the palms and the cypresses 
 remind us of the hanging gardens, and where the censers promise the victorious King 
 submission and homage, a shepherd’s boy drives his flock of sheep from the field. 
 The varying group of rams and sheep form a beautiful contra-distinction to the agitated 
 life in the other groups of the frieze. On the walls several of the inhabitants have 
 seated themselves, to behold the processional entry of the great King. At the gate of 
 the city two soldiers on duty are seen, one of whom leans despairingly on his spear. 
 Close by the shepherd, his wife and two children have taken place, the elder of which 
 caresses the passing flock of sheep. 
 
 These episodes, constituting the beginning of the bass-relief, characterize the place 
 where the scene of action is. The following division represents the Babylonians, who 
 are marching out of the gate. 
 
 The hindmost part of the Babylonians, who are marching out, is portrayed by 
 
 T?b. 
 
 LYII. 
 
 YI. 
 
 three Chaldean astrologers, who seem to prepare themselves for a flattering notification 
 to Alexander of his future greatness, which they fortell by the aspects and situation 
 of the stars. The preceding one holds in his left hand the celestial globe, and while 
 pointing to a constellation, he turns and consults the other, who gives his opinion. 
 The third follows after, meditating on the predictions by which the conqueror is to be 
 flattered and reconciled. 
 
43 
 
 VII. 
 
 In front of these is seen the hindmost part of those presents which, according to 
 Curtius, are given to Alexander. A Persian who bears a staff on his shoulder, leads 
 a lion. At his side a boy walks with a tiger, and farthest behind a third with a horse, 
 that becomes untractable at the stir in the preceding group 
 
 VIII. 
 
 of three horses, with which horse-breeding Persia presents her mighty conqueror. 
 At the approach of Bucephalus (Alexander’s war horse) and of the Macedonian 
 cavalry, the hindmost stallion rears. The leader of the preceding horse threatens to 
 whip him. Frightened, he draws his ears back and rears so ungovernably that his 
 leader scarcely can hold him by the curb. 
 
 IX 
 
 # 
 
 The musicians mentioned by Curtius, with their different instruments are next 
 represented. Five fiddlers proceed in quick and gay succession. The three foremost 
 constitute the second addition, with which Thorwaldsen has enlarged the copy for the 
 palace of Christiansborg. In the Quirinal copy, and in that which was executed for 
 Sommariva, only the two hindmost are seen. 
 
 X. 
 
 The next group represents the treasurer, Bagophanes, who, not to be inferior in 
 
 courtesy to Mazseus, had hastened out in the middle of the road where he erects an 
 
 1 
 
 altar with precious incense. The two servants who have borne the heavy altar, are 
 busy with arranging a place for it. Bagophanes is present himself to give instructions. 
 At his side a boy stands with the costly incense box. Behind is the burning censer 
 which is to be placed on the altar by a man, whose eyes betray the haste with which 
 the whole ceremony is performed. Bagophanes has also ordained 
 
 XI. 
 
 three dancing Persian maids to strew flowers and wreaths on the road. A little boy 
 bears on his head a large basket replete with the fragrant ingredients. 
 
 XII. 
 
 Mazoeus, Darius Codomannus’ field marshal, who after the battle at Arbela 
 (331 bef. Chr.) had fled to Babylon, is next represented, accompanied by two armor- 
 bearers. To move the heart of the conqueror to clemency he goes out with his five 
 sons to meet Alexander. The three eldest step fearlessly forth and in an entreating 
 
 Tab. 
 
 LVIII. 
 
 Tab. 
 
 LIX. 
 
 Tab, 
 
 LX. 
 
 Tab. 
 
 LXI. 
 
 Tab. 
 
 LXII, 
 
 Tab. 
 
 LXIII. 
 
44 
 
 Tab. 
 
 LXIV. 
 
 Tab. 
 
 LXV. 
 
 Tab. 
 
 LXYI. 
 
 Tab. 
 
 LXVII. 
 
 manner stretch out their hands, but the fourth betraying some fear, clings to the 
 eldest brother, while his father with the right hand laid on his shoulder pushes him 
 forward. With the left hand he leads the youngest, who less timid strives to get a 
 place amongst his elder brothers. 
 
 XIII. 
 
 The procession of the supplicating Babylonians is led by Pax, the winged goddess 
 of peace, who Avith the cornucopia; in her right arm, raises aloft an olive branch, thus 
 to show the conqueror the usual sign of the submission of the conquered nation. 
 
 XIV. 
 
 Victoria, the goddess of conquests, hovering with expanded wings and inclining a 
 little forward, stands on the chariot at the side of the hero, driving the fleet and 
 nimble-footed four-span. Alexander attired in a splendid armor holds himself with 
 the left hand by the triumphal car, and leans with the right on his staff, the ensign of 
 authority, Avhile his triumphant eye is lifted towards the skies 
 
 In the first copies of the frieze, this piece was executed in a manner totally 
 different. 
 
 Both Victoria and the horses were larger in proportion to the hero. The motion 
 in the heads and legs of the horses was less varied ; their tails were more bushy ; the 
 foremost horse Avas adorned with a girth, but the posture of the horses in regard to 
 the chariot Avas not sufficiently free and easy. The chariot was loAver and narrower. 
 Victoria leaned Avith the left hand upon the chariot, while with the right she holds the 
 reins. Her wings did not clearly indicate the speedy flight, and there was less motion 
 in her attitude. But especially Alexander himself did not satisfy Thoravaldsen, and 
 even in the remodeling of the great King, he seems not to have been entirely 
 successful in removing the theatrical attitude which he had given him. In the first 
 executions, Alexander stood free and easy on the chariot, only supporting himself by 
 his long spear and by his left hand akimbo, Avhile his head in whose position Tiioravald- 
 sen, no doubt, intended to represent the Avell-known wryness ascribed to Alexander, 
 Avas held sidewise. 
 
 XV. 
 
 Next to Alexander his armor-bearers follow. One in Phrygian costume Avears 
 over his shoulder tAvo javelins and on the left arm a circular shield, on which the image 
 of a lion is engraved. The other Avhose head and shoulders are covered with a lion 
 skin tied together over his breast, Avears on his back a quiver, and carries in his right 
 hand a bow. While proceeding, he turns his head back to Avatch the spirited 
 
45 
 
 Bucephalus, who too proud to he managed by others than Alexander himself, gives 
 his leader a great deal of difficulty, while the hero himself is about mounting the 
 triumphal car. One of the armor-bearers, whose flying mantle betrays the agitation 
 which the ungovernable Bucephalus had produced, has in order better to control him, 
 laid his arm over the neck of the charger. Seeking to restrain him with the curb, he 
 forces back the animal’s head, and with juvenile strength the other leader hastens to 
 help him by taking hold of the mane. 
 
 XYI. 
 
 Alexander’s retinue of horsemen is headed by Hephsestion, his dearly beloved 
 friend. Then his two generals Parmenio and Amyntas follow. Parmenio, after 
 stopping the horse, turns himself in the saddle and with a gesture of his arm 
 proclaims an order. 
 
 XVII. 
 
 A youthful warrior of the light horse turns his charger aside, immediately to obey 
 the order. 
 
 XVIII. 
 
 Then a division of the cavalry follows. In the most beautiful variety and 
 the most animated stir, eleven hundred horsemen with short and long weapons 
 are here represented under different motives. The foremost, who has lost his 
 bridle, bends himself over the neck of the horse, again to catch it. The last one, 
 who is engaged in a lively conversation with the infantry that follows after, 
 produces, by turning himself, a beautiful and natural combination between this and 
 the next group. 
 
 The five first horsemen constitute a division which is not given in the Quirinal 
 copy. It was composed only for the palace of Christiansborg, but when Sommariva 
 had seen it, he requested Thorwaldsen to adorn his copy also with this addition. 
 
 XIX. 
 
 Five foot soldiers rejoicing in their victory are represented, the three foremost of 
 whom are engaged in conversation with the horseman riding in advance. 
 
 XX. 
 
 Xow the representation of the rich booty follows. An old warrior leads an 
 elephant, with his arm on the animal’s head. Amongst the Persian weapons, which 
 almost conceal the elephant, a richly ornamented and costly chest is observed, the only 
 
 Tab. 
 
 LXVIII. & LXIX. 
 
 Tab. 
 
 LXX. 
 
 Tab. 
 
 LXXI. & LXXII. 
 & Lxxni. 
 
 Tab, 
 
 LXXIII. 
 
 Tab. 
 
 LXX1V. 
 
46 
 
 Tab, 
 
 LXXV. 
 
 Tab, 
 
 LXXYI. 
 
 portion of the booty which Alexander reserved for himself, therein to keep the 
 rhapsodies of Homer, which he always carried with him. At the side of the elephant 
 .a captive Persian chief follows, his eyes cast to the ground. A young Greek soldier, 
 armed with a spear, walks at his side to guard him. 
 
 XXI. 
 
 In front of those, a warrior on horseback is seen, who strives to pass by the 
 infantry, again to take his place among the horsemen. In conclusion Tiiorwaldsen 
 himself follows. He has taken his position beneath a palm, the symbol of peace and 
 victory, and a young Greek warrior shows him the passing military procession, the 
 picture of which he will pres°nt to the world. 
 
 Instead of the group last mentioned Thorwaldsen has, out of gratitude to Count 
 Sommariva, who was the very first who gave him an opportunity to execute this grand 
 work in marble, concluded the noble Count’s copy with a bass-relief that gives it a 
 distinctive mark. It represents Thorwaldsen at the very moment when he shows 
 Sommariva the triumphal entry of Alexander into Babylon, and delivers to him the 
 whole work completed. A young warrior, armed with spear and shield, follows the 
 procession, and is perhaps, though we are not certain, the portrait of Sommariva 
 himself. 
 
 Besides those four executions of this celebrated frieze, a copy was executed for 
 the Duke of Leuchtenberg, to embellish his palace in Munich. This was, however, 
 according to Thorwaldsen’s own statement, a copy in plaster of the Quirinal copy. 
 Another cast in plaster was sent to England. 
 
 From the copy executed in marble and set apart for the great Museum of 
 Copenhagen, Thorwaldsen caused molds to be made, to enable him to execute copies 
 in terra cotta, a sort of clay which is used for statues, architectural decorations, figures, 
 vases and the like. 
 
 The whole frieze, with all its most minute details, has been excellently engraved in 
 steel by Samuel Amsler of Munich. 
 
 This world-renowned work of Thorwaldsen has, like most of his works, met 
 with an almost unconditional eulogy. To enumerate all those commendations would 
 only occasion tiresome repetitions, and we shall, therefore, confine ourselves to quoting 
 the words of the poet Atterbom : “In truth,” he says, “when Xapoleon, for whose 
 sake this grand work was executed to beautify the Quirinal palace, omitted to take 
 his intended journey to the ‘Eternal City,’ he lost at the same time the opportunity 
 of beholding the only work of real aesthetic beauty which ever has been produced 
 in his honor.” 
 
 Before leaving the year 1812, when the Procession of Alexander occupied Thor- 
 
47 
 
 waldsen’s time, and even busied him for the next twenty years, we must, not to omit 
 any work from his hand, mention a small bass-relief representing 
 
 Victoria (Etwuittg a ..fallen IWarnne. L z£vu. 
 
 This bass-relief, which probably was composed to adorn some tomb, had, says 
 Thorwaldsen himself, never any special destination, and was, therefore, never 
 executed in marble. Only one single copy in plaster stood in his studio. 
 
 In “ Morgenblatt,” 1813, Ho. 68, p. 252, a small bass-relief of Thorwaldsen is 1813 
 mentioned, representing a mother pressing her child affectionately to her bosom, whilst 
 another woman brings flowers, after which the little one stretches its hand. Although 
 this bass-relief cannot, properly speaking, be numbered among Thorwaldsen’s own 
 inventions, we cannot forbear mentioning it. Its existence, however, it owes to his 
 politeness. The sketch was made by the Princess Dietrichstein, who in 1812 asked 
 Thorwaldsen to execute it. 
 
 On February 12th, 1813, Thorwaldsen was made a member of the Imperial 
 Royal Austrian Academy of fine arts. 
 
 Towards the end of this year, while yet the frieze on Monte Cavallo was on the 
 lips of almost every one in Rome, Thorwaldsen received an order from the remote 
 Poland for a work of art, which, as well on account of its destination as of its 
 subsequent fate, has a close connection with “his triumphal entry of Alexander.” 
 
 While the triumphal processions of Cesar and Alexander were about being set 
 up in Rome in honor of the modern Cesar, Napoleon Bonaparte, who had also 
 crossed the Rubicon and cut so many Gordian knots, the unfortunate Poland was 
 looking out with hope for the assistance of the victorious French Emperor. 
 
 After the diet of the General-Confederation at Warsaw, on June 26th, 1812, a 
 deputation of ten Count Palatines expressed to Napoleon, in the name of their nation, 
 the earnest and heart-deep wish of the restoration of Poland to a kingdom. Although 
 the answer which the Emperor gave, was not entirely satisfactory, his words, however, 
 were momentous enough to be deemed worthy of being engraved in a brass-plate, 
 which was to be kept for their perpetual remembrance, and Thorwaldsen was 
 accordingly engaged to execute 
 
 Tab 
 
 (Two tfavnatitlrs, txxv'm, 
 
 Sr LXXIX. 
 
 who should bear the architrave beneath which the brass-plate was to be inserted. 
 
 This architectonic adornment has, according to the Latin writer, Vitruvius, 
 originated with the following incident. When the inhabitants of Caryse, a village of 
 Laconia, in Peloponnesus, had sided with the Persians against the Greeks, Caryae was, 
 
48 
 
 after the termination of the Persian war, besieged and destroyed. All the men were 
 slam, and the women enslaved. In regard to these two Caryatides, Thorwaldsen 
 seems to have followed Yitruvius, inasmuch as the description of this Latin writer not 
 only permits, but even approves that they are represented wearing a different costume, 
 according to their different grade in society. One wearing a kid skin over her gown, 
 seems thereby to be characterized as pertaining to the lower order, while the other 
 being draped with a stola, to the higher grade of society. 
 
 The name Caryatis is an epithet of Diana from Caryce, where she had a temple, 
 and these statues are, therefore, more generally believed to be the images of the 
 festal danceresses of the Caryatic Diana; but in architecture, Caryatides are female 
 figures emjdoyed as columns for support. 
 
 The first of these two statues was completed in the spring of 1813, when 
 Thorwaldsen suddenly was taken ill and had to go to Leghorn to recover. He 
 returned to Rome in autumn, and executed then the second statue. 
 
 But before they had been executed in marble, the situation of all Europe, and 
 consequently also of Poland, had considerably changed. There was no longer any 
 reason for this nation to erect a monument in honor of a hope, which had been so 
 sadly disappointed, and the two Caryatides remained, therefore, in Thorwaldsen’s 
 studio till the year 1818, when the Danish government bought them. In 1826, they 
 arrived in Copenhagen, and were placed at the Royal throne in the palace of 
 Christiansborg. 
 
 Thorwaldsen’s Pedigree. —Ilis ancestors can be traced in direct line up to the 
 14th century. By the way of side-lines his genealogy ascends to the Danish king, 
 Harold Hildetand, (A. D. 700), and to the pompous Norwegian chief Olaf Paa, 
 of whose large collection of sculptural works the old Sagas frequently speak. A 
 minute and exact pedigree of Thorwaldsen has been compiled by the learned author 
 of Icelandic annals, John Espolin, provincial judge of Iceland. 
 
 Those who may perhaps doubt the possibility of tracing up to the remotest 
 antiquity the extraction of an artist, who was born in the humblest walks of life, we 
 must ask to bear in mind, that Iceland was the repository for the antiquities, 
 mythology and history of the three Northern kingdoms, as also for the genealogy of 
 their progenitors, and that the genealogical tables in the Icelandic Sagas often ascend 
 to the fabulous age, and gain in credibility according as they draw near to the 8th 
 century, when this remarkable island began to be colonized by the Norwegians. 
 
49 
 
 From this period the genealogical tables are in a great measure authentic, and about 
 with this period the pedigree of Thorwaldsen begins 
 
 Though this pedigree by no means magnifies our illustrious artist, who has so 
 greatly magnified himself by his legacy of the greatest and sublimest works of art 
 ever produced, we mention, however, its existence for the sake of curiosity. Hence 
 we also learn that Thorwaldsen had a brother by the name of Are, who learned the 
 goldsmith-trade in Copenhagen, but died very young. 
 

 
 
 
 
PART FIRST. 
 
 Tab. 
 
 The Bust oe Thorvaldsen, . I. 
 
 On the title page : Thorvaldsen’s Medal 
 by Brandt. On the reverse, a genio 
 LUMEN, . II. 
 
 A Resting Cupid, . HI. 
 
 Heliodorus Expelled from the Temple, . IV. 
 
 Priam and Achilles, . V. 
 
 Hercules and Omphale, . VI. 
 
 Peter Heals a Lame Man, . YH. 
 
 Thorvaldsen’s Portrait in his 24th year, VHI. 
 
 Terpsichore, .. IX. 
 
 Euterpe, . ... X. 
 
 Tvo Figures named Muses, though as 
 
 such but little characterized, XI. & XH. 
 
 Numa and Egeria,. Xin. 
 
 Bacchus and Ariadne,. XIV. 
 
 Melpomene, . XV 
 
 Jason,. XVI. 
 
 Achilles and Briseis,. XVII 
 
 The Dance of the Muses on Helicon, . XVIH. 
 Cupid and Psyche, (a group) .... XIX. 
 
 Bacchus, . . XX. 
 
 Ganymede,. XXI. 
 
 Apollo,. XXII. 
 
 Venus vitii the Apple,. XXHI. 
 
 j The Baptism of Christ, . . . XXIV. 
 
 ^4 I 
 
 g h Mary vith Jesus, and John, . . XXV. 
 
 s £ . 
 
 £ ft, Christ Blessing the Children, . XXVI. 
 j Three Hovering Angels, . . XXVH. 
 
 Tali 
 
 Jupiter, Minerva, Nemesis, Oceanus and 
 
 the Earth,.XXVIII. 
 
 Minerva and Prometheus, .... XXIX. 
 
 Hercules and Hebe,.XXX. 
 
 Jupiter and Nemesis,.XXXI. 
 
 Aesculapius and Hygeia,.XXXIL 
 
 The Pacific Mars,.XXXIII. 
 
 Adonis, .XXXIV. 
 
 A Genio Lumen, .XXXV. 
 
 Hector, Paris and Helena, .... XXXVI. 
 
 Cupid, the Lion Tamer,.XXXVII. 
 
 The Birth of Aphrodite, . . . XXXV 1H. 
 
 Cupid Wounded by the Bee, . . . XXXIX. 
 
 Mercury, Bacchus and Ino,.XL 
 
 Cupid and Bacchus,. XLI. 
 
 Caritas, (Charity).XLII. 
 
 Cupid and Psyche, (bass-relief) . . XLIH. 
 
 Vulcan, Venus, Cupid and Mars, . . XLIV. 
 
 Mars and Cupid, . XLV. 
 
 Summer,.XLVI. 
 
 Harvest,.XLVII. 
 
 Mausoleum over Augusta Boiimer, . XLVIII. 
 
 Psyche vitii the Box,.XLIX. 
 
 Cupid, ' . L 
 
 Alexander'^ Triumphal Entry into 
 
 Babylon,.LI.—LXXVI. 
 
 Victoria Crowning a Fallen Warrior, LXXVII. 
 Two Caryatides, . . . LXXVIII. & LXXIX. 
 

 
 
 
 
 7 
 
 * 
 
 

 That which at present mainly occupies my time, is first, a naked figure in natural 
 size, representing Jason , who is about returning to the ship after having seized upon 
 the Golden Jleece, which he wears on the left arm, holding a spear in the right hand ; 
 and then a copy in marble after Raphael’s bust in the Rotunda. Both of them will 
 after a short time be completed, and I intend to send them to the Academy instead 
 of those afore-mentioned. I flatter myself with the hope, that these works will bear 
 witness to the progress which I gradually make in my art, which daily becomes dearer 
 to me, although at the same time I must confess that I fully comprehend how far I 
 still am from the great perfection which is exhibited in the master pieces, I constantly 
 have before my eyes. Meanwhile recommending myself to the continual favor of the 
 Academy, I remain, with deep respect, 
 
 B. Thorwaldsen. 
 
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