A Visit to Iceland [115]
of which about a tenth was contributed by Britain. Such awful fires, fearful though they are at the time, seem absolutely necessary to great towns, as they cause needful improvements to be made, which the indolence or selfishness of the inhabitants would otherwise prevent. There is not a great city that has not at one time or another suffered severely from fire, and has risen out of the ruins greater than before.--ED.
{12} There are no docks at Hamburgh, consequently all the vessels lie in the river Elbe, and both receive and discharge their cargoes there. Madame Pfeiffer, however, is mistaken in supposing that only London could show a picture of so many ships and so much commercial activity surpassing that of Hamburgh. Such a picture, more impressive even than that seen in the Elbe, is exhibited every day in the Mersey or the Hudson.--ED.
{13} Kiel, however, is a place of considerable trade; and doubtless the reason why Madame Pfeiffer saw so few vessels at it was precisely the same reason why she saw so many at Hamburgh. Kiel contains an excellent university.--ED.
{14} At sea I calculate by sea-miles, of which sixty go to a degree.
{15} This great Danish sculptor was born of poor parents at Copenhagen, on the 19th November, 1770; his father was an Icelander, and earned his living by carving figure-heads for ships. Albert, or "Bertel," as he is more generally called, was accustomed during his youth to assist his father in his labours on the wharf. At an early age he visited the Academy at Copenhagen, where his genius soon began to make itself conspicuous. At the age of sixteen he had won a silver, and at twenty a gold medal. Two years later he carried off the "great" gold medal, and was sent to study abroad at the expense of the Academy. In 1797 we find him practising his art at Rome under the eye of Zoega the Dane, who does not, however, seem to have discovered indications of extraordinary genius in the labours of his young countryman. But a work was soon to appear which should set all questions as to Thorwaldsen's talent for ever at rest. In 1801 he produced his celebrated statue of "Jason," which was at once pronounced by the great Canova to be "a work in a new and a grand style." After this period the path of fame lay open before the young sculptor; his bas-reliefs of "Summer" and "Autumn," the "Dance of the Muses," "Cupid and Psyche," and numerous other works, followed each other in rapid succession; and at length, in 1812, Thorwaldsen produced his extraordinary work, "The Triumph of Alexander." In 1819 Thorwaldsen returned rich and famous to the city he had quitted as a youth twenty-three years before; he was received with great honour, and many feasts and rejoicings were held to celebrate his arrival. After a sojourn of a year Thorwaldsen again visited Rome, where he continued his labours until 1838, when, wealthy and independent, he resolved to rest in his native country. This time his welcome to Copenhagen was even more enthusiastic than in 1819. The whole shore was lined with spectators, and amid thundering acclamations the horses were unharnessed from his carriage, and the sculptor was drawn in triumph by the people to his atelier. During the remainder of his life Thorwaldsen passed much of his time on the island of Nyso, where most of his latest works were executed. On Sunday, March 9th, 1842, he had been conversing with a circle of friends in perfect health. Halm's tragedy of Griselda was announced for the evening, and Thorwaldsen proceeded to the theatre to witness the performance. During the overture he rose to allow a stranger to pass, then resumed his seat, and a moment afterwards his head sunk on his breast--he was dead!
His funeral was most sumptuous. Rich and poor united to do honour to the memory of the great man, who had endeared himself to them by his virtues as by his genius. The crown-prince followed the coffin, and the people of Copenhagen stood in two long rows, and uncovered their heads as the coffin of the sculptor was carried past. The king himself
{12} There are no docks at Hamburgh, consequently all the vessels lie in the river Elbe, and both receive and discharge their cargoes there. Madame Pfeiffer, however, is mistaken in supposing that only London could show a picture of so many ships and so much commercial activity surpassing that of Hamburgh. Such a picture, more impressive even than that seen in the Elbe, is exhibited every day in the Mersey or the Hudson.--ED.
{13} Kiel, however, is a place of considerable trade; and doubtless the reason why Madame Pfeiffer saw so few vessels at it was precisely the same reason why she saw so many at Hamburgh. Kiel contains an excellent university.--ED.
{14} At sea I calculate by sea-miles, of which sixty go to a degree.
{15} This great Danish sculptor was born of poor parents at Copenhagen, on the 19th November, 1770; his father was an Icelander, and earned his living by carving figure-heads for ships. Albert, or "Bertel," as he is more generally called, was accustomed during his youth to assist his father in his labours on the wharf. At an early age he visited the Academy at Copenhagen, where his genius soon began to make itself conspicuous. At the age of sixteen he had won a silver, and at twenty a gold medal. Two years later he carried off the "great" gold medal, and was sent to study abroad at the expense of the Academy. In 1797 we find him practising his art at Rome under the eye of Zoega the Dane, who does not, however, seem to have discovered indications of extraordinary genius in the labours of his young countryman. But a work was soon to appear which should set all questions as to Thorwaldsen's talent for ever at rest. In 1801 he produced his celebrated statue of "Jason," which was at once pronounced by the great Canova to be "a work in a new and a grand style." After this period the path of fame lay open before the young sculptor; his bas-reliefs of "Summer" and "Autumn," the "Dance of the Muses," "Cupid and Psyche," and numerous other works, followed each other in rapid succession; and at length, in 1812, Thorwaldsen produced his extraordinary work, "The Triumph of Alexander." In 1819 Thorwaldsen returned rich and famous to the city he had quitted as a youth twenty-three years before; he was received with great honour, and many feasts and rejoicings were held to celebrate his arrival. After a sojourn of a year Thorwaldsen again visited Rome, where he continued his labours until 1838, when, wealthy and independent, he resolved to rest in his native country. This time his welcome to Copenhagen was even more enthusiastic than in 1819. The whole shore was lined with spectators, and amid thundering acclamations the horses were unharnessed from his carriage, and the sculptor was drawn in triumph by the people to his atelier. During the remainder of his life Thorwaldsen passed much of his time on the island of Nyso, where most of his latest works were executed. On Sunday, March 9th, 1842, he had been conversing with a circle of friends in perfect health. Halm's tragedy of Griselda was announced for the evening, and Thorwaldsen proceeded to the theatre to witness the performance. During the overture he rose to allow a stranger to pass, then resumed his seat, and a moment afterwards his head sunk on his breast--he was dead!
His funeral was most sumptuous. Rich and poor united to do honour to the memory of the great man, who had endeared himself to them by his virtues as by his genius. The crown-prince followed the coffin, and the people of Copenhagen stood in two long rows, and uncovered their heads as the coffin of the sculptor was carried past. The king himself