ork was done by inlaying cement of different
colors in the wall. Joseph described the various scenes. Thorwaldsen
is still held in the highest regard and veneration by all Denmark,
and especially by all Copenhagen; indeed, he seems to be the great
genius of the country. He was born in 1770, near the city. His father
was an Icelander, and a carver in wood--a calling in which the son
assisted him when he was only a dozen years old. At seventeen he
received the prize of a silver medal from the Academy of Arts, and at
twenty-three the grand prize, which carried with it a royal pension,
that enabled him to go abroad for the study of his art. He went to
Rome in 1796, where he had but little success, and was reduced almost
to despair, when his model of Jason and the Golden Fleece attracted
the attention of an English gentleman, who commissioned him to
complete the work in marble. This event was the dawn of success, and
orders continued to pour in upon him from the rich and the powerful,
including kings and emperors, until his fortune was made. His works
adorn many of the great cities of Europe, and Canova was his only
actual rival. His fame extended to every nation, and a visit to his
native land in 1819 was a triumphal progress through Italy and
Germany. In 1838 he returned to Copenhagen, to pass the remainder
of his days, in a frigate sent to Italy for his use by the Danish
government. On one side of his museum are depicted his arrival in this
ship, and his reception by the citizens; and on the other side, the
conveyance of his works from the ship to their final destination.
Thorwaldsen went to Rome again on a visit for his health, and died in
Copenhagen in 1844. He was a modest, generous, and amiable man. The
museum was erected by subscription, though the sculptor gave a
fourth part of the sum necessary for its erection, and in his will
bequeathed to it the works of art from his cunning brain, of which its
contents are almost entirely composed. His biography has been written
by Hans Christian Andersen.

After examining the frescoes on the outer wall, the party entered the
building. It is an oblong structure, with a court-yard in the middle.
It is two stories in height, with connected rooms extending entirely
around it. The works of art, and memorials of the sculptor, are
classified in these apartments, forty-two in number.

"That is the grave of Thorwaldsen," said Joseph, leading the way into
the court-yard. "His body lie