INGELHEIM. Oberingelheim and Niederingelheim, two contiguous market-towns of Germany, in the Hessian province of Rhine Hesse, circle of Bingen, are situated on the Hessian Ludwig Railway and on the Saiz near its confluence with the Rhine, 9 miles west-north-west of Mainz. Oberingelheim, formerly an imperial village, has an old Evangelical church with painted windows representing scenes in the life of Charlemagne, a Catholic church, and a synagogue. Its industries are the manufacture of wine and papermaking. The population of Oberingelheim in 1875 was 2846, and of Niederingelheim 2474.
Niederingelheim is, according to one tradition, the birthplace of Charlemagne, and it possesses the ruins of an old palace built by that emperor between 768 and 774. The building contained one hundred marble pillars, and was adorned with sculptures and mosaics from Italy. It was extended by Frederick Barbarossa, and continued to be a favourite residence of the emperors till 1356, when Charles IV. resigned it to the Palatinate. The building suffered much damage during the Bavarian feud of 1504, the Thirty Years’ War, and the French invasion in 1689. Only few remains of it are now standing, but some of the pillars are still to be found in different parts of Germany. Inside the boundaries there is an old church, apparently dating from the time of Frederick I. See Hilz, Der Reichspalast zu Ingelheim, Oberingelheim, 1868.
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INGEMANN, Bernhard Severin (1789-1862), a Danish poet and novelist, was born at Torkildstrup, in the 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 1806. 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 Blichet 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 All his early and unpublished writings were destroyed by the English when they burned the town. Iu 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 Knight, 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, Masanidlo and Blanca, followed by The Voice in the Desert, The Shepherd of Tolosa, and other romantic plays. After a variety of publications, all enormously successful, he travelled iu 1818 to Italy. At Rome he 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 unsuccessful comedy, Magnetism in a Barber's Shop. In 1822 the poet was nominated lector in Danish language and literature at Sörö 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; EriL Menvefs Childhood, 1828; King Erik, 1833; and Prince Otto of Denmark, 1835. He then returned to epic poetry in Queen Margaret, 1836, and Holger Danske, 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 1846 Ingemann was nominated director of Sörö 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 Oehlensehläger, 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 contemporaries. 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 the 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.
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