e was received. The
building was decorated with garlands, and he went over the whole of it;
at last he entered the inner court, where he was to be buried; here he
stood for some time with bowed head, while all about him kept silence.
Can any one fancy the thoughts that must have come to him? Here he must
be buried, and yet here would he live in the works of his hand which
would surround him and remain to testify to his immortal powers.

He lived three years more, and was always busy. His mind was strong and
his conceptions of his subjects had lost nothing, but his ability to
execute his works was less; his hand had lost somewhat of its cunning.
He went much into society, was fond of the theatre, and under the
devoted care of his servant, Wilkens, he enjoyed all that was possible
to a man of his age. On the 24th of March 1844, the Baroness von Stampe
went to ask him to dine at her house; he said he was not well and would
not go out; but as his daughter was to be there and expected him he
decided to go. He was modelling a bust of Luther, and threw down before
it a handful of clay and stuck a trowel in it; just so, as he left it,
this now stands in the museum, preserved under glass, with the print of
his hand in the clay.

He was merry at dinner, and in speaking of the museum said he could die
now, whenever he chose, since the architect Bindesboell had finished his
tomb. After dinner he went to the theatre, and there it was seen that he
was really ill; he was taken out with haste and laid upon a sofa, when
it was found that he was already dead. The Charlottenburg joined the
theatre, and there, in the hall of antique sculpture, he was laid. He
was first buried in the Frue Kirke, which he had so splendidly
decorated; four years later he was borne to the vault in the centre of
the Thorwaldsen Museum, where above him grows the evergreen ivy, a
fitting emblem of his unfading fame.

Thiele, in his splendid book called "Thorwaldsen and his Works," gives a
list of two hundred and sixty works by this master; and as one journeys
from Rome, where are some of his sculptures in St. Peter's and the
Quirinal, to Copenhagen, with the Frue Kirke and the Museum, one passes
through few cities that are not adorned by his statues and reliefs.
Among his most important works are the frieze of Alexander's entrance
into Babylon, at the Quirinal; the Lion of Lucerne; the many statues,
groups, and bas-reliefs in the Frue Kirke; more than thirty se