140 / 165
and at
10
a.m. they commenced the battle which lasted
five hours, ending in the defeat of the Danes. C. A . Lo-
rentzen, the painter, watched the battle from the spire of
the Church of Our Saviour, from where he commanded a
wide view. Here he made some rough drawings which
were later transferred to canvas. (The prepatory drawings
are in the Printroom of the Royal Museum of Fine Arts
and in the Frederiksborg Museum, where the oil painting
also is). W ith this as his model J. F. Clemens engraved this
large sheet
18 0 2
-
0 5
. Besides depicting one of the episodes
in the battle it also represents a topographically correct
picture of the Navy's shipyards and buildings on the many
islands. In the foreground Christianshavns Canal and Tran-
graven, on the right Bodenhoffs plads and the Arsenal
island with the rigging houses, and finally Nyholm with
the rigging sheers. The warehouse in the foreground to
the left belonged to Greenland Trade. In the background
the two sea forts: Lunetten and Trekroner.
Reproduced p.
8 3
.
1 3 7
THE BATTLE OF COPENHAGEN APRIL
2
,
18 0 1
This very naive gouache is topographically more accurate
than Clemens' engraving. Like the prepatory drawing for
that, the gouache must have been executed after sketches
and observations from the spire of the Church of
Our Saviour. On the whole the view is the same, but
Butty's dramatical sense is limited to the sea battle itself
out on the roads, and consequently the representation of
Nyholm and all the buildings is more meticulous. It is
important to notice that the picture includes the rampart
of Christianshavn; between this and the long inhabited
islands in the centre we have the wind mill of the Holmen
and in the foreground the islet of Pramlauget. To the left
in the foreground rise the rigging sheers of Christians-
holm, which are now demolished, and behind it a long
footbridge leads out to the guardhouse at Honsebron (the
hens' bridge). A number of replicas exist of this picture
(Frederiksborg Museum, 0regaard, the Naval Museum,
and an oil painting in the City Museum of Copenhagen).
1 3 8
V IEW FROM ØSTERBRO T OW AR D S
COPENHAGEN
1 8 0 1
The view is with the words of the artist himself " . . . taken
from the balcony of the country seat belonging to Coun
cillor Classen, July
2
nd,
1 8 0 1
. " The country seat of Peter
Hersleb Classen stood between Østerbrogade and the
Sound and is also known from a number of watercolours
done by the same artist. In this view he depicts Classen's
garden and the beautiful country side bordering on the
city. The watercolour belongs to a series of four in all
with motifs from Classen's garden (the City Museum).
Reproduced p.
8 5
.
13 9
COPENHAGEN SEEN FROM THE
NORTHWEST
180 2
The outline of the city is copied after J. M . Haas' view
from
17 8 5
(see cat. no.
1 1 9
), with the corrections, how
ever, necessitated by the fire of the Palace in
1 7 9 4
and
the city fire the following year. In the foreground the
artist inserted a couple of set pieces, on the left a sculpture
in front of a group of trees, and on the right a Doric
temple facade.
1 4 0
KRONPRINSESSEGADE
18 0 4
After the fire
1 7 9 5
Christian VII donated to the corpora
tion a strip of the King's Garden so that the latter by
selling land could acquire resources for expropriating lots
elsewhere with a view to road extensions etc.
180 2
Peter
Meyn presented his plan for
1 6
pavilions, which connected
with a fence were to demarcate the garden along Gothers-
gade and Kronprinsessegade. Although Bundsen's drawing
is the first reproduction of this new, modern and magni
ficent specimen of a street, it nevertheless has quite a few
inaccuracies - perhaps he made a sketch during a visit to
Copenhagen which was later in Altona transferred to this
sheet. In any case, the existing gateway at the corner of
the two streets is flanked by pavilions and much more
134