74 I N G I N G island of Falster, on the 28th of May 1789. He lost his father in early childhood, was educated at the grammar school at Slagelse, and entered the university of Copenhagen in 1800. His studies were interrupted by the English invasion, and on the first night of the bombardment of the city Ingemann stood with the young poet Blicher on the walls, while the shells whistled past them, and comrades were killed on either side. All his early and unpublished writings were destroyed by the English when they burned the town. In 1811 he published his first volume of poems, and in 1812 his second, followed in 1813 by a book of lyrics entitled Procne. These three volumes were extremely well received, and so was his cycle of romances in verse, called The Black Kniyht, 1814. With these books he attained at once the leading position in Denmark as a lyrist, and he then turned his attention to the drama. In 1815 he published two tragedies, Masaniello and Blanca, followed by The Voice in the Desert, Tlie Shepherd of Tolosa, and other romantic plays. After a variety of publications, all enormously successful, he travelled in 1818 to Italy. At Rome ho wrote The Liberation of Tasso, and returned in 1819 to Copenhagen. In 1820 he began to display his real power in a volume of delightful tales. In 1821 his dramatic career closed with the production of an unsuccess ful comedy, Magnetism in a Barber s Shop. In 1822 the poet was nominated lector in Danish language and litera ture at Soro College, and he now married. Valdemar the Great and his Men, an historical epic, appeared in 1824. The next few years were occupied with his best and most durable work, his four great historical novels of Valdemar Seier, 1826; Erik Menved s Childhood, 1828; King Eril^ 1833; and Prince Otto of Denmark, 1835. He then returned to epic poetry in Queen Margaret, 1836, and Holger Danslce, 1837. The number of his later writings is too great to permit us to chronicle them. They consist of religious and sentimental lyrics, epic poems, novels, short stories in prose, and fairy tales. His last publication was The Apple of Gold, 1856. In 18i6 Ingemann was nomi nated director of Soro College, a post from which he retired in 1849. He died peacefully and happily on the evening of the 24th of February 1862. Ingemann enjoyed during his lifetime a popularity which Was unapproached even by that of Oehlenschlager, and in fact it may be said that no Danish poet has ever been nearly so popular as he. But criticism has been busy since his death in reversing this decision of the public, and Ingemann now takes a place in Danish literature below four or five of his immediate con temporaries. His boundless facility and fecundity, his sentimentality, his religious melancholy, his direct appeal to the domestic affections, gave him instant access to the ear of the public. His novels are better than his poems ; of the former the best are those which are directly modelled on tho manner of Sir Walter Scott. As a dramatist he has entirely outlived his reputation, and his unwieldy epics are now little read. Ingemann was a purely sentimental writer, and his reputation has proved no less ephemeral than the fashion for sentiment. 1NGOLSTADT, a fortified town in the government dis trict of Upper Bavaria, is situated on the left bank of the Danube at its junction with the Schutter, 50 miles north of Munich by rail. As the chief town of the district it is the seat of the usual authorities. The town is well built. The principal buildings are the old castle of the dukes of Bavaria-Ingolstadt, now used as an arsenal ; the remains of the earliest Jesuits college in Germany, founded in 1555 ; the former university buildings, now a school ; the theatre ; the large Gothic church of Our Lady, founded in 1425, with two massive towers, and the grave of Dr Eck, Luther s opponent ; the Franciscan convent and nunnery ; and several other churches and hospitals. Ingolstadt possesses several technical and other schools. In 1-472 a university was founded in the town by Duke Louis the Rich, which at the end of the 16th century was attended by 4000 students. In 1800 it was removed to Landshut, whence it was finally transferred to Munich in 1826. The industries of Ingolstadt comprise brewing, wax-bleaching, and potash- boiling ; there is also trade in vegetables. The station, an important junction 1| miles distant, is connected with the town by tramway. The population in 1875 was 14,485. Ingolstadt, known as Aurcatum or ChrysojwUs, was <a royal vHla in the beginning of the 9th century, and only received its city charter about 1312, from the emperor Louis of Bavaria. After that date it gradually grew in importance, and became the capital of a mediaeval dukedom which merged finally in that of Bavaria- Munich. The fortifications, erected in 1539, were put to the test during the contests of the Smalkaldian League, and in the Thirty Years War. Gustavus Adolphus besieged Ingolstadt in 1632, when Tilly, to whom there is a, monument in the church, lay mortally wounded within the walls. In the war of the Spanish succession it was besieged by the margrave of Baden in 1704. In 1743 it was surrendered by the French to the Austrians, and in 1SOO, after a three months siege, the French under General Moreau took the town, and destroyed the fortifications. These, however, were rebuilt on a much larger scale under King Louis I. ; and since 1834 Ingolstadt has ranked as a fortress of the first class. In 1872 even more important fortifications were begun, which include tetes-de-pont with round towers of massive masonry, and the lleduit Tilly on the right bank of the river. INGRES, JEAX AUGUSTE DOMINIQUE (1780-1867), whose name represents one of the most important among the conflicting tendencies of modern art, was born at Montauban August 29, 1780. His father, for whom he always enter tained the most tender and respectful affection, has described himself as sculpteur en pldtre ; he was, however, equally ready to execute every other kind of decorative work, and now and again eked out his living by taking portraits, or obtained an engagement as a violin player. He brought up his son to command the same varied resources, but in con sequence of certain early successes the lad s performance of a concerto of Viotti s was applauded at the theatre of Toulouse his attention was directed chiefly to the study of music. At Toulouse, to which place his father had removed from Montauban in 1792, Ingres had, however, received lessons from Joseph Roques, a painter, whom he quitted at the end of a few months to become a pupil of M. Vigan, professor at the academy of fine arts in the same town. From M. Yigan, Ingres, whose vocation became day by day more distinctly evident, passed to M. Briant, a landscape-painter who insisted that his pupil was specially gifted by nature to follow the same line as himself. For a while Ingres obeyed, but he had been thoroughly aroused and enlightened as to his own objects and desires by the sight of a copy of Raphael s Madonna della Sedia, and, having decisively ended his connexion with Briant, he started for Paris, where he arrived about the close of 1796. He was then admitted to the studio of David, for whose lofty standard and severe principles he always retained a profound appreciation. David recognized the merit of one who soon ranked amongst his most promising pupils, and Ingres, after four years of devoted study, in the course of which (1800) he obtained the second place in the yearly competition, finally carried off the Grand Prix (1801). The work thus rewarded the Ambassadors of Agamemnon in the Tent of Achilles (Ecole des Beaux Arts) was admired by Flaxman so much as to give umbrage to David, and was succeeded in the following year (1802) by the execu tion of a Girl after Bathing, and a woman s portrait ; in 1804 Ingres exhibited Portrait of the First Consul (Musde de Lidge), and portraits of his father and himself ; these were followed in 1806 by Portrait of the Emperor (Invalides), and portraits of M., Mme., and Mdlle. Riviere (the first two now in the Louvre). All these and various minor works were executed in Paris, for it was not until
