In The Deer Park.

Statue Of Hans Christian Andersen.

Two palaces in Copenhagen, known as Rosenborg and Amalienborg, stand in striking contrast to each other. The former was from the fifteenth to the middle of the eighteenth century the principal residence of Danish royalty; the latter is the home of Denmark's present sovereign. One reared its stately form outside the city, and was separated from the people by stout ramparts; the other is surrounded by shops, streets and dwellings, in the centre of the capital. Rosenborg was splendid. Amalienborg is simple. The castle of Christian IV. represented absolutism and the divine right of kings. The residence of Christian IX. is typical of constitutionalism and the increasing democratic spirit of the age. The tourist goes to Rosenborg to see how Danish sovereigns used to live. He knows that in Amalienborg they now live no less plainly than their subjects. Rosenborg is a storehouse for ancient royalty's stage scenery and costumes. It is divided into rooms, in each of which the ceilings, fireplaces, mural decorations and furniture portray the style of art prevailing at the period when the objects in that room were used. One gains here, therefore, a practical illustration of the weapons, dresses, ornaments, desks and chairs belonging to four centuries of kings and queens. Some individual relics of these rulers are extremely interesting. Thus, in the room of Christian IV., who is commemorated in the national song, " King Christian stood by the lofty mast," are portions of the blood-stained uniform worn by that monarch in a naval battle in the Baltic, when he was wounded by a Swedish cannon ball. Near by are two small, gold-enameled hands, each holding a tiny piece of the metal with which the king was struck, and these were worn as earrings by one of his daughters in memory of her father's heroism.

Rosenborg Palace.

The Dane who has in recent times done most to embellish Copenhagen, and to benefit his countrymen, is Mr. Carl Jacobsen. One of the most imposing and elaborately ornamented buildings in the city is the New Glyptothek, erected mainly at the expense of this enthusiastic art-patron, to contain his previous gift of a large collection of modern sculpture. Like many other noble enterprises, this had a modest beginning. The statues which the donor first purchased were intended merely for his own gratification; but the love of art and the joy of the collector increased with each new acquisition, till finally the accumulated treasure seemed to its owner too vast to be retained in private hands for personal enjoyment.

The New Glyptothek.

Accordingly, in 1888, the entire collection was presented by Mr. Jacobsen and his wife to the Danish nation. This, of itself, would be enough to insure his country's everlasting gratitude; but the philanthropist did more. Desirous of giving to Copenhagen specimens of Greek and Roman, as well as of contemporary, art, he applied himself with indefatigable energy and princely generosity to the founding and furnishing of another museum, called the Old Glyptothek. The result is no less surprising than superb. Here is now the most complete display of Roman busts and portrait-statues gathered in any one museum in the world. Yet the building and its contents were, in 1899, presented as freely to the State as the New Glyptothek had been. I was astonished and delighted to find two such collections in this comparatively unfrequented city of the North. At the time of my first visit here, ten years before, these noble halls had not been built, and the great masterpieces of Thorwaldsen were Copenhagen's only sculptures of transcendent value. But in a single decade, the patriotic devotion of one man has given to the Danish capital a wealth of art which every visitor must appreciate and admire. Denmark has been singularly fortu- nate in possessing two sons who, within half a century, have royally enriched her: one a magnificent creator, the other a munificent collector. While she reveres the first, she must feel deeply grateful to the second. When, therefore, in addition to all the gifts that have been mentioned, I learned that this same noble-hearted Dane had placed in one of Copenhagen's parks twelve reproductions in bronze of famous antique statues; had erected in one of the squares of the capital a statue of the Danish painter, Carstens; and had built, entirely at his own expense, the beautiful "Jesus Church," with its richly decorated interior, besides establishing a fund for the future adornment of public places and gardens with works of- art, I thought I had never known of a single individual who had done so much for the embellishment of a city, the elevation of the popular taste, and the education of the people. Surely, if any modern Dane deserves a monument in marble or in bronze, and a still more enduring one in the hearts of those whose lives he will for centuries make happier and richer by his gifts, it is this national benefactor, whose services, it is to be hoped, will, contrary to custom, be appreciated and recognized while the generous heart which prompted them can still be thrilled with pleasure by a people's gratitude and love.