sionally in Marstrand and Roed. But these are only transi-
tory gleams compared with the steady and constant light
that radiates from Eckersberg's work upon the great circle
of his pupils.

Portrait of the Scene Painter Troels Lund, by C. A. Jensen

It was in the late twenties and the early thirties that
Eckersberg's school
reached its fullest
bloom. His best
pupils at that time
were Rörbye, Roed,
Bendz, Köbke, Petz-
holdt, Adam Mül-
ler, Küchler, Con-
stantin Hansen,
Eddelien, and Mar-
strand. For all
these men the day
that they entered
the master's atelier
was of far-reaching
significance. They
learned there that
the first rule of
painting is inviola-
ble truthfulness in
the representation
of a subject. They
learned, further, that this depends not on what is represented,
but on how it is represented. They also learned, in this
connection, the value of loving study of the smallest details
of nature. Lastly, they learned that only what lies near at
hand lies near enough to the heart to be loved and to be
painted.

Naturally they had already in their youth tendencies
toward the individual differences which later became evident
in their work, but their pictures have far less the stamp of
individuality than of the period and the school. It is, per-
haps, the glimpses of individuality, naïvely revealed with the

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