nother of the Guardian Angel, and one of Christian Charity.

He did not remain very long in Denmark, but went to Warsaw, where he had
been summoned to arrange for some important works. He was presented to
the Emperor Alexander, who gave him sittings for a portrait bust; this
was so successful that for some years Thorwaldsen employed skilled
workmen to constantly repeat it, in order to fill the demand for it
which was made upon him. While at Warsaw he received an order for a
monument to Copernicus, which was dedicated in 1830; other important
commissions were given him, and after visiting Cracow, Troppau, and
Vienna, he reached Rome in December, 1820, where he was heartily
welcomed by the artists, who gave him a banquet, on which occasion the
Prince Royal of Denmark sat next to the sculptor.

Before this a correspondence had established a friendship between
Thorwaldsen and Prince Louis of Bavaria; but from the year 1821 intimate
personal relations existed between them. He took up work with great
energy; he had returned to Rome with so much to do that he required much
room, and employed a large company of workmen. In the summer of 1822 he
was able to secure a large building which had been used for a stable to
the Barberini Palace, and here he was able to set up all his large
models.

In 1824 Thorwaldsen was summoned by the Cardinal Consalvi, who gave him
the commission for the monument to Pius VII., now in the Clementine
Chapel of St. Peter's at Rome; this work was not completed when the
cardinal himself died, and his own monument by Thorwaldsen was placed in
the Pantheon before that of Pius VII. was put in its place. He also made
a cross for the Capuchins for which he would accept no reward, though
they were entirely satisfied with it.

In 1825 Thorwaldsen was elected President of the Academy of St. Luke
with the advice and consent of Pope Leo XII., who paid him a visit in
his studio. Many delays occurred, and the monument to Pius VII. was not
erected until 1831.

The works upon which the artist and his assistants were engaged were far
too numerous to be mentioned; he was at the very height of fame and
popularity, and was forced to refuse some of the commissions sent him.
In 1830 he went to Munich to superintend the setting up of his monument
to Eugene Beauharnais, the Duke of Leuchtenberg. This gave Louis of
Bavaria an opportunity to show his regard for the sculptor, which he did
in every possible way. Soon after t