Anne marie carl-nielsen's memorial figure of her husband, Den fløjtespillende Pan (Musikkens Genius) (‘The Flute-playing Pan (Music's Genius)’), unveiled on 17 December 1939, eight years after the composer's death, stands almost unnoticed in what was once one of the most atmospheric quarters of Copenhagen (Fig. 8.1). Now a traffic island at the junction of Store Kongensgade and Grønningen, constantly shaken by vehicles streaming in and out of the city, it is occasionally possible to gain a sense of the location's former character. Situated at the apex of the green triangle formed by the western corners of the citadel, Kastellet, one of the favourite haunts of early nineteenth-century Golden Age painters such as Christen Købke, and opposite the old naval terraces (Nyboder barracks) built by Christian IV in 1631–41 decorated in their distinctive ochre paint, the statue looks across the highway towards the pavilion designed by Jens Ferdinand Willumsen for Den frie Udstilling (The Free Exhibition) in 1898. Though the pavilion was originally sited at Aborreparken, further to the south, it was moved to its present site in 1913–14, where it remains (slightly dilapidated), in use as a temporary exhibition space and as a venue for arts functions. The conjunction of Willumsen's pavilion and Anne-Marie Carl Nielsen's monument is more significant than their apparently coincidental proximity initially suggests. It was in Willumsen's atelier in Paris in 1891 where Anne Marie and Carl Nielsen first met, and Willumsen remained an important presence in the young couple's artistic life after they returned to Copenhagen, at least until the early 1900s.