ample space being afforded for the best display of each figure and 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 depicted with the pen and the brush. No one can wonder at the universal homage accorded by his countrymen to the memory of the greatest of modern sculptors. The bust of Luther is seen in the main hall in an unfinished condition, just as the sculptor left it, and upon which, indeed, he is said to have worked the day before his death. It depicts a rude, coarse face, but one full of energy and power. In the Hall of Christ, as it is called, is the celebrated group of our Lord and the Twelve Disciples, the original of which is in the Cathedral. The impressive effect of this remarkable group is universally conceded; no one can stand before it unaffected by its grand and solemn beauty. Thorwaldsen's household furniture, writing-desk, books, pictures, and relics are here disposed as they were found in his home on the day of his death,—among which a clock, made by him when he was but twelve years of age, will interest the visitor.

A large proportion of the many persons whom we met in the Museum were Danes, whose respectability and admirable behavior impressed us most favorably,—a conviction which was daily corroborated upon the public streets, where there was none of the grossness observable which is so glaring among the middle and lower classes of more southern cities. There are no mendicants upon the thoroughfares; order and cleanliness reign everywhere, reminding one of Holland and the Hague. The young trees and delicate flowers in the public gardens require no special protection, and one looks in vain for anything like rowdyism in the crowded thoroughfares. Though the Danes are free consumers of malt liquors, not a case of intoxication met the author's eye while he remained in Copenhagen.

The Ethnological Museum of the city, better known as the Museum of Northern Antiquities, is generally considered to be the most remarkable institution of its class in Europe. Students in this department of science come from all parts of the civilized world to seek knowledge from its countless treasures. One is here enabled to follow the progress of our race from its primitive stages to its highest civilization. The national government liberally aids all purposes akin to science and art; consequently this Museum is a favored object of the State, being also liberally endowed by private munificence. Each of the three distinctive periods of Stone, Bronze, and Iron forms an elaborate division in the spacious halls of the institution. In classifying the objects, care has been taken not only to divide the three great periods named, but also in each of these divisions those belonging to the beginning and the end of the period are chronologically placed, as fast as such nice distinctions can be wrought out by careful, scientific study and comparison. Here the visitor gazes with absorbing interest upon the tangible evidences of a race that inhabited this earth probably thousands of years before it was broken into islands and continents. Their one token, these rude, but expressive stone implements, are found equally distributed from the Arctic Circle to the Equator, from Canada to Brazil, from England to Japan. Scientists whose culture and intelligence entitle their opinion to respect, place the Stone Age as here illustrated at least twenty thousand years before the birth of Christ. How absorbing is the interest attaching to these relics which ages have consecrated! No matter what our preconceived notions may be, science only deals with irrefutable facts. The periods delineated may be thus expressed: first the Flint period, which comes down to fifteen hundred years before Christ; followed by the Bronze, which includes the next twelve or thirteen hundred years; then the Iron, which comes down far into the Christian era. What is termed the Mediæval brings us to 1536, since which time there is no occasion for classification. No wonder the antiquarian becomes so absorbed in the study of the past. "The earliest and the longest has still the mastery over us," says George Eliot. Progress is daily making in the correct reading of these comprehensive data, and those who may come after us will be born to a great wealth of antiquity. Other countries may learn much from the admirable management of this Museum in the matter of improving the educational advantages which it affords. Professors of eminence daily accompany the groups of visitors, clearly explaining the purport and the historical relations of the many interesting objects. These persons are not merely intelligent employees, but they are also trained scientists; and, above all, they are enthusiastic in freely imparting the knowledge which inspires them. Such impromptu lectures are both original and impressive. Indeed, to go through the Ethnological Museum of Copenhagen understandingly is a liberal education. It should be added that the zeal and affability of these able officials is as freely and cheerfully extended to the humblest citizen as to distinguished strangers. One returns again and again with a sort of fascination to these indisputable evidences of history relating to periods of which there is no written record. If they are partially defective in their consecutive teachings, they are most impressive in the actual knowledge which they convey. Without giving us a list of sovereigns or positive dates,