nd each group. The ceilings are elaborately and very
beautifully decorated with emblematical designs by the best Danish
artists. This enduring monument to art is also Thorwaldsen's
appropriate mausoleum, being fashioned externally after an Etruscan
tomb, and decorated in fresco with scenes illustrative of the
sculptor's life. These crude and unprotected frescos, however, have
become quite dim, and are being gradually effaced by exposure to the
elements. So far as any artistic effect is concerned, we are honestly
forced to say that the sooner they disappear the better. The interior
of the Museum is peculiar in its combined effect,--a little
depressing, we thought, being painted and finished in the sombre
Pompeian style. It contains only Thorwaldsen's works and a few
pictures which he brought with him when he removed hither from Rome,
where so many years of his artistic life were passed. We have here
presented to us the busts, models, sketches, and forms in clay,
plaster, or marble, which represent all his works. Thorwaldsen's
favorite motto was: "The artist belongs to his work, not the work to
the artist,"--a conscientious devotion which seems to invest
everything which came from his hand. His body lies buried in the
centre of the open court about which the building is constructed,
without any designating stone, the ground being slightly raised above
the surrounding pavement, and appropriately covered with a bed of
growing ivy. A sense of stillness and solemnity seems to permeate the
atmosphere as one pauses beside this lowly but expressive mound.

Among the portrait-statues which linger in the memory are many
historic and familiar characters, such as Copernicus, Byron, Goethe,
Hans Andersen, Humboldt, Schiller, Horace Vernet, Christian IV., the
favorite monarch of the Danes, and many more. We have said that the
general effect of these artistic halls was a little depressing;
still, this was not the influence of the great sculptor's creations,
for they are full of the joyous, elevating, and noble characteristics
of humanity. Thorwaldsen revelled in the representation of
tenderness, of youth, beauty, and childhood. Nothing of the repulsive
or terrible ever came from his hand. The sculptor's regal fancy found
expression most fully, perhaps, in the _relievi_ which are gathered
here, illustrating the delightful legends of the Greek mythology. He
gives us here in exquisite marble his original conceptions of what
others have d