Various
Chambers's Edinburgh Journal, No.306
'This heavy-headed rival, east and west,
Makes us traduced and taxed of other nations;'
and likewise to describe the usurping uncle as a drunkard. You see here King Christian's audience-chamber, a handsome old panelled room, full of little pictures, and having a small aperture in the door, through which it is said the king could, from his sitting-room, observe the conduct of his courtiers while they were waiting for him. In glass-cases are ranged a bewildering multitude of antique gold boxes, cups, baptismal basins, goblets, and drinking-horns, together with some elegant decorated swords, and other weapons. The object singled out for special observation is the celebrated silver horn of Oldenborg; not, it seems, that which Dousterswivel speaks of as given to Count Otto of Oldenborg by a mountain spirit, but one which is said to have been made for Christian I. in 1447. The singularly rich decorations and figurings on the outside are certainly in the style of that period, if I may judge by the mace preserved at St Andrews – a rich product of the Parisian workshop of the time of Charles VII. In a small room Christian IV. slept in a hammock; the rings by which it was suspended are still seen in the ceiling. Portraits of his favourite ladies hang around. In another room there is a great variety of drinking-glasses; some of them of the beautiful Venetian manufacture, said to be exceedingly rare and valuable. One of the richest articles in the whole collection is a set of horse-furniture which Christian presented to his son on his marriage, and which cost a million of francs. The very buckles are set with diamonds! An upper floor contains the grand hall of the palace, styled the Riddersal, or Knights' Chamber: it has a silver throne at one end, and much historical tapestry along the walls. One comes away with a strong sense of the prodigality in which the royalty of Denmark indulged during its days of absolute authority, when the people were condemned to slavery, at once the sole workers and the sole taxpayers in the country. I may remark that a party is shown through this palace by a well-bred gentlemanlike man, who speaks in French, if required, for a fee amounting to 6s. 9d. sterling. Everything is explained with precision, and nothing but what is historically true is stated. An enlightened visitor is thus left with a very different impression from what he would acquire in any similar show-house in England, where probably an old housekeeper, unfit for anything else, would be found placed as a cicerone, full of childish legends and myths, which she would relate as unchallengeable facts.
Before turning to any other Copenhagen sight, I may take the reader to a place much allied in character to the Château Rosenberg – namely, the cathedral of Roeskilde, which I did not visit till my return from the north. A railway of about sixteen English miles – the only thing of the kind as yet introduced into the country – enabled me to be deposited there in an hour. We found a huge ungainly brick church rising in the midst of a village which has something of the withered look of Versailles. The inside is as plain as the outside is coarse, and there is little trace of the Gothic architecture to be seen. Yet there are here some exceedingly curious, and even some beautiful objects. The altar-piece is a complicated exhibition of ancient Dutch wood-carving, representing the principal events in the life of Christ. It is said to be at least three hundred years old. Along the sides of the space enclosed for the Communion-table are two series of still more ancient wood-carvings, representing Bible events – the Old Testament on one side, and the New on the other. The quaintness of many of the figures, and the homely ideas embodied by the artist, are exceedingly amusing – for example, Adam writhing in painful sleep, as the Almighty is pulling Eve bodily out of his side; Noah calmly steering something like an omnibus, with seven faces looking out at as many windows; and Elijah going up into the air in a four-wheeled vehicle marvellously resembling the ill-constructed wains which still rumble through the streets of Copenhagen. Having dwelt long on the curious and minute work here displayed, we proceeded to view the sarcophagi of the Danish sovereigns of the last two centuries, all of which are placed in this church. I found the aisle in the right transept in the course of being repaired and adorned with frescoes, for the reception of the coffin of Christian IV., and a grand statue of the monarch by Thorvaldsen. As yet, he reposes in the half-lit vault below, with his queen by his side, and his naked sword lying rusted and out of order upon his coffin. The length of the weapon surprises the curious visitor, but is explained by the uncommon stature of the royal owner – for Christian, it seems, was a man of six feet five inches. The coffin is otherwise distinguished only by a number of plain silver ornaments.
The marble tombs of Christian V. and Frederick IV., and their queens – contemporaries of our William III. and Queen Anne – are placed in a quadrangular arrangement behind the altar, and are certainly magnificent structures of their kind, being formed of pure marble, and adorned with many figures, all in the finest style of art. Medallion portraits of the royal personages, and sculptures referring to events in their lives, are among the ornaments of these mausolea, the costliness of which tells the same tale as the Copenhagen palaces, of a time when the king was everything, and the people nothing. In beholding one of them, which seems to rise from the floor rather like some magical exhalation than a work of human hands, the idea occurred to me, 'Certainly this is making the very best of the sad case of death which it is possible for human nature to do, as far as its mere material elements are concerned.' In the left transept, a beautifully fitted-up chamber, as it may be called, in the Grecian style, are sarcophagi of two earlier sovereigns, not much less splendid. The series of monarchs thus liberally treated were all of them bad, selfish kings, who had little feeling for their people, over whom they maintained absolute rule. A more virtuous series, commencing with Frederick V. – the contemporary of our George II. – are disposed of less magnificently, most of them being placed in simple velvet-covered coffins on the floor. Amongst these, one dull-looking ark in black velvet attracts attention by its plainness. It contains the ashes of the imbecile Christian VII., whose queen Matilda passed through so sad a history. In the vicissitudes of subsequent ages, I should say that the plain monuments have the best chance of preservation. The cicerone here shows a pillar on which are three marks: one indicating the stature of Christian I. – the first prince of the existing dynasty, and a contemporary of our Edward IV.; he was, it seems, six feet ten inches in height, and his sword, which hangs on the wall, is long enough to reach up to the chin of a man of ordinary size; a second denotes the stature of Christian IV.; a third, strikingly lower, betokens the height of the late amiable king, Frederick VI.
Some other aisles contain the sarcophagi of distinguished noble families of Denmark. I was arrested for a little by one which has a door of iron grated-work, bearing a figure of the devil as large as life, with horns, tail, and claws. The explanation is, that the family reposing within is named Trolle, a famous one in Danish history. Trolle is the name of one of the beings of Scandinavian superstition; and this being is figured in the armorial-bearings of the house as a man having his head placed in the middle of his body. Latterly, I suppose, as these superstitions became obscure, the malignant Trolle was confounded with the devil; and hence the figure on the grating as an object bearing reference to this noble family. The English visitor is disposed to pause under a different feeling over the slab beneath which Saxo-Grammaticus reposes, when he recollects that Shakspeare obtained the foundation of his Hamlet in the pages of that historian. I find it stated in Feldborg's 'Denmark Delineated,' that when James VI. of Scotland came to Copenhagen in the course of his matrimonial excursion, he met in Roeskilde Cathedral the celebrated Dr Hemmingen, and discussed with him in Latin the substantial presence of the body and blood of Christ in the eucharist. Dr Hemmingen had been placed here, as in an honourable banishment, for his Calvinistic notions on this subject. The Scottish monarch was so much pleased with his cast of opinion, that he invited him to dinner, and at parting bestowed upon him a golden beaker.
The royal collection of pictures in the Christiansborg palace is a large one, occupying twelve stately rooms; but it contains only a few good pictures, and seldom detains a visitor long. While I was in Copenhagen, a small collection of the productions of living Norwegian artists was open to public inspection for a small fee, the proceeds being applicable to the relief of the Danish soldiers wounded in the Sleswig-Holstein war. Several of the landscapes, particularly one by a Mr Gude, representing the Hardanger Fiord, struck me as works of merit; and there was one conversation-piece, representing an old peasant reading the Bible to his wife, which seemed to me not less happy in its way. It is remarkable that the northern nations have not yet produced any painter of great reputation, but that in sculpture they have surpassed all other European nations besides Italy. The great distinction attained by Thorvaldsen has thrown a glory over Denmark, of which the Danes are justly proud. He was the son of a poor Icelandic boat-builder, and was born in Copenhagen. On his attaining to eminence in Rome about thirty years ago, his country at once awakened to a sense of his merits; and when he afterwards visited it, he was received with honours such as are usually reserved for some soldier who has saved his country, or added stupendously to its laurels. He ultimately settled in Denmark, where he died in 1844, leaving to his country many of his best works in marble, casts of all his great works, besides his pictures, curiosities, furniture, and the sum of 60,000 Danish dollars. The consequence has been the erection of the Thorvaldsen Museum, beyond all comparison the most interesting object in Copenhagen. It is a quadrangular building in what is called the Pompeii style, with a court in the middle; in the centre of which, within a simple square of marble slabs, rest the remains of the great artist. In the halls and galleries within are ranged the sculptures, casts, &c. under a judicious classification, each apartment being adorned with frescoes more or less appropriate to the objects contained in it. The finest object in the whole collection is undoubtedly the cast of a colossal figure of Christ, which Thorvaldsen executed, along with the twelve apostles, and a kneeling angel bearing a font, for the Frue Kirk in Copenhagen. The stranger sees the marble originals of all these figures in the church with admiration; but it is admitted that the cast of the Christ has a better effect than the original, in consequence of its superior relative arrangement. The Saviour is represented in the act of saying, 'Come unto me all ye that labour and are heavy laden;' and there is a mixture of human benevolence with divine majesty in the attitude and expression, which perfectly answers to the text. The tendency seems to be to an admission that this is the finest embodiment of the idea of the Saviour of the world which that world has ever seen; and I shall not be surprised if this opinion be confirmed. Many of the artist's mythological figures – particularly those realising ideal beauty, his Psyches, Venuses, Dianas, and Apollos, the cast of his noble frieze of the triumphal march of Alexander, and some of his subjects embodying the poetry of human life – are eminently beautiful. The busts, which are numerous, are less interesting, and in most instances inferior as works of art. The representations of the artist himself, in sculpture and painting, are many, and calculated to give a perfect idea of the man – a massive figure, with a massive head, blue eyes, a pale complexion, and a gentle, but thoughtful expression of countenance. After dwelling to weariness on the creations of the man's genius, it is pleasant to walk into the rooms which contain his simple household furniture, books, favourite pictures, and other intimate memorials of his personal existence. It is equally agreeable to pause in the midst of the contemplation of his works, and observe the groups of admiring countrymen, from the noble to the peasant, who pass through the rooms to enjoy the spectacle of an intellectual triumph in which they feel that they have a part. Finally, one pauses with speechless emotion over the plain enclosure in the courtyard, which pronounces only the words Bertel Thorvaldsen over one whom these countrymen can never cease to revere. On the outside of the building there are frescoes representing —first, the national reception of Thorvaldsen on his final return to Copenhagen; and, second, the public joy on the introduction of his works into their country. I heard some criticise these frescoes severely; but I could never get so far as criticism in their case. Every such attempt is anticipated with me by a melting of the heart in sympathy with this worthy people, over the glory which Thorvaldsen has conferred upon them in the eyes of their fellow-nations, and that genial kindly relation between them and their immortal compatriot, of which this invaluable museum is the monument.
The Danes are remarkably fond of amusement, and the means of affording this gratification at Copenhagen are ample. The principal theatre (Konglige Theater) is a handsome house of moderate size, where both the Opera and Ballet are respectably presented. I was present one evening, when an operatic piece of Hans Christian Andersen, named Brylluppet ved Como-Soen, apparently of very simple construction, was performed, and I thought both the singing and orchestra exceedingly good. There are several other playhouses, some of which are chiefly frequented by the humbler classes. On the outskirts of the town there is an establishment called a Tivoli, resembling Vauxhall, and to which, as the admission is only 4½d. sterling, immense multitudes resort. Here is found a little theatre for dancing and short vaudevilles, which the people witness standing in the open air. There is a salon for music, where the people are under cover, but without seats, unless they choose to ask for refreshments. In the open air are merry-go-rounds, an undulating railway, and machines for testing strength. In Denmark, a merry-go-round is the enjoyment of old as well as young. It is composed of a circular stage, bearing carriages like those of a railway, and going partly upon wheels, while a brass band sounds vociferously in the centre. It was most amusing to us English to observe the gravity with which people of all ages took their places in this circumambient train. One curricle presents a decent shopkeeper with his wife, he with the baby on his knee, which he is endeavouring to awaken to a sense of its droll situation – the cigar kept firm in his mouth all the time; another exhibits a pair of young lovers in very amicable union; a third an aged couple, who might be grandfather and grandmother to the latter party. An inner circle of boys, whipping and spurring imaginary horses, complete the whimsicality of the machine, as it goes grinding and thundering on to the sound of the band. I do not envy the man who can turn away contemptuously from such a sight as this. The simplicity of intellect betrayed by such tastes one might certainly wish to see improved; but yet there is something in being easily pleased which a benevolent nature cannot easily resist. I quite loved the people for the innocence of heart shown in their amusements.
A Sunday evening which I spent in Copenhagen on my return from the north afforded me an additional insight into the habits of the Danes in this respect. Sunday, it must be premised, is held all over Scandinavia much less strictly than in England, and its religious character is considered as terminating at six in the evening. What I had seen in Norway made me not quite unprepared for what I found at Copenhagen; nevertheless it was somewhat startling. The evening being fine, the whole of the broad shady walks between the west gate of the city and the palace of Fredericksberg, two miles off, were crowded with groups of people in their best clothes; not merely peasants and artisans, or even shopkeepers, but persons of superior condition, though perhaps not in such great proportion. The peasant women, with their gaudy gold-laced caps and ribbons, gave a striking character to the scene. There were no drunk or disorderly people – all perfectly quiet and well-behaved. Along the side of the road are numerous tea-gardens, some of them having little theatres, others merry-go-rounds and nine-pins, and so forth. These were all in full operation. It was astounding to see old women, identical in aspect with those who in Scotland sit on pulpit-stairs, and spend the Sunday evening over Boston's 'Fourfold State' and 'Crook in the Lot,' here swimming along in the circular railway to the music of a band. I tell, however, but a simple fact when I say that such was the case. Scores of little parties were enjoying themselves in the recesses along the walks. I observed that many of these were family parties, whose potations consisted only of tea. As the only variation to a laborious life for a whole week, it must have been intensely enjoyed. In one garden connected with a third-rate tavern there was a dancing saloon, with a clarionet, two fiddles, and a bass, to which a few lads and lasses were waltzing; and this seemed no solitary case. There was evidence of enjoyment everywhere, but not the slightest symptom of a sense that there was anything wrong in it. All seemed to be done openly and in good faith. I could not help contrasting the scene with the Sunday evenings of my own country. There the middle-classes spend the time at least quietly, if not religiously, at home; and having the power, use it, to forbid all public or acknowledged means of amusement to their inferiors. It is well known, however, that the taverns frequented by the common people are very busy that evening. It has been stated that in Glasgow, on the evening of the Sunday on which the Communion was administered last winter, one thousand and eighty public-houses were found in full business. The difference, therefore, between Denmark and Britain is mainly this – that in the one country amusements of a comparatively innocent nature are partaken of without a sense of guilt, while in the other enjoyments of a degrading kind are enjoyed clandestinely, and with the feeling of a reprobation hanging over them which must add to their anti-moral tendency. We must pause, then, I conceive, before we express the feelings which are most apt to arise in our minds regarding the Scandinavian mode of spending the Sunday evening.
The Museum of Northern Antiquities may perhaps be admitted to divide the palm of interest with the Thorvaldsen Museum; but I postpone all reference to the subject till a proper groundwork shall have been laid by the description of my journeyings in Sweden and Norway.
R. C.