Copenhagen

T H E SIGHTS OF COPENHAGEN.

derives its nam e from Mr. Jacob sen’s famous brewery at Valby, where it orig inated as a w inter garden with a few marble figures. The n um b e r of these soon increased, and many original models in plaster were added to the collection. In 1888 the collection had attained such dim ensions and importance, that he and Mrs Jacobsen, in o rd er to preserve it complete, resol­ ved to presen t it to the nation. Between the years 1891 and 1897 a m agnificent bu ild ing was erected for the reception of this valuable gift. Being a "young" collection, it has not yet assumed definite form, but as it contains many excellent works of art, it possesses the fundamental conditions for becom ing a sculpture m useum of high rank. W hen Mr. Jacobsen, tow ards the close of the Seventies, began to collect statues, he was especially interested in the older Danish and the m odern French sculpture. This twofold interest has set its stam p on the collection, which consists of two distinct sections, the Danish and the French. On the one side of the large arched entrance hall are the room s containing the French, on the o ther those containing the Danish sculptures. The m arked difference between the Romanic and the northern styles is m ost striking, and of interest not only to the art student, bu t to the student of national life.

The distingu ish ing peculiarities of the two nationalities are still further b rough t out in this case by the F rench section principally con ­ taining scu lp tu re of the period after 1870, the most brilliant and influential in the history of F rench art, whilst nearly all the chief Danish works are by Thorvaldsen's two talented pupils, H. V. Bissen and J.

C H A PU : THK PRINCESS OF WALES, IN TH E GLYPTO­ THEK

A.Jerichau, excellent exponents of the Danish art of the Fifties and Sixties. Contrasted with the French sculpture, the Danish becom es the expression not only of Scandinavian, but, in a

63 -