In Budapest the National Museum of 1837-44 by Michael Pollák (1773-1855) is a vast rectangle fronted in the conventional way by an octostyle Corinthian portico and with a somewhat Schinkel-like severity of treatment on the side wings. This is another major example of the museums which were such characteristic monuments of Romantic Classicism everywhere. Among many other large and typical public monuments designed by Pollák, the Kommitat Building may be mentioned as of comparable size and dignity to his museum. If first Greece and then Austria employed Danish Hansens in the forties and fifties, the earlier Romantic Classical tradition of C. F. Hansen, who in any case lived on until 1845, was still better maintained at home by his pupil M. G. B. Bindesbøll (1800-56). Where C. F. Hansen’s inspiration was Roman and Parisian, Bindesbøll’s seems rather to have been German, as was common in his generation. Certainly his masterpiece, again a museum and indeed a museum of sculpture, out-Schinkels Schinkel. The Thorvaldsens Museum[59] in Copenhagen was built in 1839-48 to house the sculpture and the collections of the thoroughly Romanized Bertil Thorwaldsen, which he had determined in 1837 to present to his native country. The mode, of course, is Greek but completely astylar like the rear of Schinkel’s Berlin Museum; the general impression, particularly of the court with Thorvaldsen’s tomb in its centre, is surprisingly Egyptian (Plate 16B). The mathematical severity of the architectural design is warmed by the murals on the walls, once largely washed away but now all renewed; they romanticize thoroughly its rigid geometrical forms. Even the purely architectural elements, moreover, were once polychromed, if the present restoration of the colour is correct.