Ганс Христиан Андерсен
Pictures of Sweden
DIURGAERDEN
Diurgaerden is a large piece of land made into a garden by our Lord himself. Come with us over there. We are still in the city, but before the palace lie the broad hewn stone stairs, leading down to the water, where the Dalkulls—i.e., the Dalecarlian women—stand and ring with metal bells. On board! here are boats enough to choose amongst, all with wheels, which the Dalkulls turn. In coarse white linen, red stockings, with green heels, and singularly thick-soled shoes, with the upper-leather right up the shin-bone, stands the Dalkull; she has ornamented the boat, that now shoots away, with green branches. Houses and streets rise and unfold themselves; churches and gardens start forth; they stand on Södermalm high above the tops of the ships' masts. The scenery reminds one of the Bhosphorus and Pera; the motley dress of the Dalkulls is quite Oriental—and listen! the wind bears melancholy Skalmeie tones out to us. Two poor Dalecarlians are playing music on the quay; they are the same drawn-out, melancholy tones that are played by the Bulgarian musicians in the streets of Pera. We stept out, and are in the Diurgarden.
What a crowd of equipages pass in rows through the broad avenue! and what a throng of well-dressed pedestrians of all classes! One thinks of the garden of the Villa Borghese, when, at the time of the wine feast, the Roman people and strangers take the air there. We are in the Borghese garden; we are by the Bosphorus, and yet far in the North. The pine-tree rises large and free; the birch droops its branches, as the weeping willow alone has power to do—and what magnificently grand oaks! The pine-trees themselves are mighty trees, beautiful to the painter's eye; splendid green grass plains lie stretched before us, and the fiord rolls its green, deep waters close past, as if it were a river. Large ships with swelling sails, the one high above the other, steamers and boats, come and go in varied numbers.
Come! let us up to Byström's villa; it lies on the stony cliff up there, where the large oak-trees stand in their stubborn grandeur: we see from here the whole tripartite city, Södermalm, Nordmalm and the island with that huge palace. It is delightful, the building here on this rock, and the building stands, and that almost entirely of marble, a "Casa santa d'Italia," as if borne through the air here in the North. The walls within are painted in the Pompeian style, but heavy: there is nothing genial. Round about stand large marble figures by Byström, which have not, however, the soul of antiquity. Madonna is encumbered by her heavy marble drapery, the girl with the flower-garland is an ugly young thing, and on seeing Hero with the weeping Cupid, one thinks of a pose arranged by a ballet-master.
Let us, however, see what is pretty. The little Cupid-seller is pretty, and the stone is made as flexible as life in the waists of the bathing-women. One of them, as she steps out, feels the water with her feet, and we feel, with her, a sensation that the water is cold. The coolness of the marble-hall realizes this feeling. Let us go out into the sunshine, and up to the neighbouring cliff, which rises above the mansions and houses. Here the wild roses shoot forth from the crevices in the rock; the sunbeams fall prettily between the splendid pines and the graceful birches, upon the high grass before the colossal bronze bust of Bellmann. This place was the favourite one of that Scandinavian improvisatore. Here he lay in the grass, composed and sang his anacreontic songs, and here, in the summer-time, his annual festival is held. We will raise his altar here in the red evening sunlight. It is a flaming bowl, raised high on the jolly tun, and it is wreathed with roses. Morits tries his hunting-horn, that which was Oberon's horn in the inn-parlour, and everything danced, from Ulla to "Mutter paa Toppen:"13 they stamped with their feet and clapped their hands, and clinked the pewter lid of the ale-tankard; "hej kara Sjæl! fukta din aske!" (Hey! dear soul! moisten your clay).
A Teniers' picture became animated, and still lives in song. Morits blows the horn on Bellmann's place around the flowing bowl, and whole crowds dance in a circle, young and old; the carriages too, horses and waggons, filled bottles and clattering tankards: the Bellmann dithyrambic clangs melodiously; humour and low life, sadness—and amongst others, about
"– hur ögat gret
Ved de Cypresser, som ströddes."14
Painter, seize thy brush and palette and paint the Maenade—but not her who treads the winebag, whilst her hair flutters in the wind, and she sings ecstatic songs. No, but the Maenade that ascends from Bellmann's steaming bowl is the Punch's Anadyomene—she, with the high heels to the red shoes, with rosettes on her gown and with fluttering veil and mantilla—fluttering, far too fluttering! She plucks the rose of poetry from her breast and sets it in the ale-can's spout; clinks with the lid, sings about the clang of the hunting horn, about breeches and old shoes and all manner of stuff. Yet we are sensible that he is a true poet; we see two human eyes shining, that announce to us the human heart's sadness and hope.
A STORY
All the apple-trees in the garden had sprung out. They had made haste to get blossoms before they got green leaves; and all the ducklings were out in the yard—and the cat too! He was, so to speak, permeated by the sunshine; he licked it from his own paws; and if one looked towards the fields, one saw the corn standing so charmingly green! And there was such a twittering and chirping amongst all the small birds, just as if it were a great feast. And that one might indeed say it was, for it was Sunday. The bells rang, and people in their best clothes went to church, and looked so pleased. Yes, there was something so pleasant in everything: it was indeed so fine and warm a day, that one might well say: "Our Lord is certainly unspeakably good towards us poor mortals!"
But the clergyman stood in the pulpit in the church, and spoke so loud and so angrily! He said that mankind was so wicked, and that God would punish them for it, and that when they died, the wicked went down into hell, where they would burn for ever; and he said that their worm would never die, and their fire never be extinguished, nor would they ever get rest and peace!
It was terrible to hear, and he said it so determinedly. He described hell to them as a pestilential hole, where all the filthiness of the world flowed together. There was no air except the hot, sulphurous flames; there was no bottom; they sank and sank into everlasting silence! It was terrible, only to hear about it; but the clergyman said it right honestly out of his heart, and all the people in the church were quite terrified. But all the little birds outside the church sang so pleasantly, and so pleased, and the sun shone so warm:—it was as if every little flower said: "God is so wondrous good to us altogether!" Yes, outside it was not at all as the clergyman preached.
In the evening, when it was bed-time, the clergyman saw his wife sit so still and thoughtful.
"What ails you?" said he to her.
"What ails me?" she replied; "what ails me is, that I cannot collect my thoughts rightly—that I cannot rightly understand what you said; that there were so many wicked, and that they should burn eternally!—eternally, alas, how long! I am but a sinful being; but I could not bear the thought in my heart to allow even the worst sinner to burn for ever. And how then should our Lord permit it? he who is so wondrously good, and who knows how evil comes both from without and within. No, I cannot believe it, though you say it."
It was autumn. The leaves fell from the trees; the grave, severe clergyman sat by the bedside of a dying person; a pious believer closed her eyes—it was the clergyman's own wife.
"If any one find peace in the grave, and grace from God, then it is thou," said the clergyman, and he folded her hands, and read a psalm over the dead body.
And she was borne to the grave: two heavy tears trickled down that stern man's cheeks; and it was still and vacant in the parsonage; the sunshine within was extinguished:—she was gone.
It was night. A cold wind blew over the clergyman's head; he opened his eyes, and it was just as if the moon shone into his room. But the moon did not shine. It was a figure which stood before his bed—he saw the spirit of his deceased wife. She looked on him so singularly afflicted; it seemed as though she would say something.
The man raised himself half erect in bed, and stretched his arms out towards her.
"Not even to thee is granted everlasting peace. Thou dost suffer; thou, the best, the most pious!"
And the dead bent her head in confirmation of his words, and laid her hand on her breast.
"And can I procure you peace in the grave?"
"Yes!" it sounded in his ear.
"And how?"
"Give me a hair, but a single hair of the head of that sinner, whose fire will never be quenched; that sinner whom God will cast down into hell, to everlasting torment."
"Yes; so easily thou canst be liberated, thou pure, thou pious one!" said he.
"Then follow me," said the dead; "it is so granted us. Thou canst be by my side, wheresoever thy thoughts will. Invisible to mankind, we stand in their most secret places; but thou must point with a sure hand to the one destined to eternal punishment, and ere the cock crow he must be found."
And swift, as if borne on the wings of thought, they were in the great city, and the names of the dying sinners shone from the walls of the houses in letters of fire: "Arrogance, Avarice, Drunkenness, Voluptuousness;" in short, sin's whole seven-coloured arch.
"Yes, in there, as I thought it, as I knew it," said the clergyman, "are housed those condemned to eternal fire."
And they stood before the splendidly-illumined portico, where the broad stairs were covered with carpets and flowers, and the music of the dance sounded through the festal saloons. The porter stood there in silk and velvet, with a large silver-headed stick.
"Our ball can match with the King's," said he, and turned towards the crowd in the street—his magnificent thoughts were visible in his whole person. "Poor devils! who stare in at the portico, you are altogether ragamuffins, compared to me!"
"Arrogance," said the dead; "dost thou see him?"
"Him!" repeated the clergyman; "he is a simpleton—a fool only, and will not be condemned to eternal fire and torment."
"A fool only," sounded through the whole house of Arrogance.
And they flew into the four bare walls of Avarice, where skinny, meagre, shivering with cold, hungry and thirsty, the old man clung fast with all his thoughts to his gold. They saw how he, as in a fever, sprang from his wretched pallet, and took a loose stone out of the wall. There lay gold coins in a stocking-foot; he fumbled at his ragged tunic, in which gold coins were sewed fast, and his moist fingers trembled.
"He is ill: it is insanity; encircled by fear and evil dreams."
And they flew away in haste, and stood by the criminals' wooden couch, where they slept side by side in long rows. One of them started up from his sleep like a wild animal, and uttered a hideous scream: he struck his companion with his sharp elbow, and the latter turned sleepily round.
"Hold your tongue, you beast, and sleep! this is your way every night! Every night!" he repeated; "yes, you come every night, howling and choking me! I have done one thing or another in a passion; I was born with a passionate temper, and it has brought me in here a second time; but if I have done wrong, so have I also got my punishment. But one thing I have not confessed. When I last went out from here, and passed by my master's farm, one thing and another boiled up in me, and I directly stroked a lucifer against the wall: it came a little too near the thatch, and everything was burnt—hot-headedness came over it, just as it comes over me, I helped to save the cattle and furniture. Nothing living was burnt, except a flock of pigeons: they flew into the flames, and the yard dog. I had not thought of the dog. I could hear it howl, and that howl I always hear yet, when I would sleep; and if I do get to sleep, the dog comes also—so large and hairy! He lies down on me, howls, and strangles me! Do but hear what I am telling you. Snore—yes, that you can—snore the whole night through, and I not even a quarter of an hour!"
And the blood shone from the eyes of the fiery one; he fell on his companion, and struck him in the face with his clenched fist.
"Angry Mads has become mad again!" resounded on all sides, and the other rascals seized hold of him, wrestled with him, and bent him double, so that his head was forced between his legs, where they bound it fast, so that the blood was nearly springing out of his eyes, and all the pores.
"You will kill him!" said the clergyman,—"poor unfortunate!" and as he stretched his hands out over him, who had already suffered too severely, in order to prevent further mischief, the scene changed.
They flew through rich halls, and through poor chambers; voluptuousness and envy, all mortal sins strode past them. A recording angel read their sin and their defence; this was assuredly little for God, for God reads the heart; He knows perfectly the evil that comes within it and from without, He, grace, all-loving kindness. The hand of the clergyman trembled: he did not venture to stretch it out, to pluck a hair from the sinner's head. And the tears streamed down from his eyes, like the waters of grace and love, which quenched the eternal fire of hell.
The cock then crowed.
"Merciful God! Thou wilt grant her that peace in the grave which I have not been able to redeem."
"That I now have!" said the dead; "it was thy hard words, thy dark, human belief of God and his creatures, which drove me to thee! Learn to know mankind; even in the bad there is a part of God—a part that will conquer and quench the fire of hell."
And a kiss was pressed on the clergyman's lips:—it shone around him. God's clear, bright sun shone into the chamber, where his wife, living, mild, and affectionate, awoke him from a dream, sent from God!
UPSALA
It is commonly said, that Memory is a young girl with light blue eyes. Most poets say so; but we cannot always agree with most poets. To us memory comes in quite different forms, all according to that land, or that town to which she belongs. Italy sends her as a charming Mignon, with black eyes and a melancholy smile, singing Bellini's soft, touching songs. From Scotland Memory's sprite appears as a powerful lad with bare knees; the plaid hangs over his shoulder, the thistle-flower is fixed on his cap; Burns's songs then fill the air like the heath-lark's song, and Scotland's wild thistle flowers beautifully fragrant as the fresh rose. But now for Memory's sprite from Sweden, from Upsala. He comes thence in the form of a student—at least, he wears the Upsala student's white cap with the black rim. To us it points out its home, as the Phrygian cap denotes Ganymede.
It was in the year 1843, that the Danish students travelled to Upsala. Young hearts met together; eyes sparkled: they laughed, they sang. Young hearts are the future—the conquering future—in the beautiful, true and good; it is so good that brothers should know and love each other. Friendship's meeting is still annually remembered in the palace-yard of Upsala, before the monument of Gustavus Vasa—by the hurra! for Denmark, in warm-hearted compliment to me.
Two summers afterwards, the visit was returned. The Swedish students came to Copenhagen, and that they might there be known amongst the multitude, the Upsala students wore a white cap with a black rim: this cap is accordingly a memorial,—the sign of friendship's bridge over that river of blood which once flowed between kindred nations. When one meets in heart and spirit, a blissful seed is then sown. Memory's sprite, come to us! we know thee by the cap from Upsala: be thou our guide, and from our more southern home, after years and days, we will make the voyage over again, quicker than if we flew in Doctor Faustus' magic cloak. We are in Stockholm: we stand on the Ridderholm where the steamers lie alongside the bulwarks: one of them sends forth clouds of thick smoke from its chimney; the deck is crowded with passengers, and the white cap with the black rim is not wanting.
We are off to Upsala; the paddles strike the waters of the Mälar, and we shoot away from the picturesque city of Stockholm. The whole voyage, direct to Upsala, is a kaleidescope on a large scale. It is true, there is nothing of the magical in the scenery, but landscape gives place to landscape, and clouds and sunshine refresh their variegated beauty. The Mälar lake curves, is compressed, and widens again: it is as if one passed from lake to lake through narrow canals and broad rivers. Sometimes it appears as if the lake ended in small rivulets between dark pines and rocks, when suddenly another large lake, surrounded by corn fields and meadows, opens itself to view: the light-green linden trees, which have just unfolded their leaves, shine forth before the dark grey rocks. Again a new lake opens before us, with islets, trees and red painted houses, and during the whole voyage there is a lively arrival and departure of passengers, in flat bottomed boats, which are nearly upset in the billowy wake of the vessel.
It appears most dangerous opposite to Sigtuna, Sweden's old royal city: the lake is broad here; the waves rise as if they were the waters of the ocean; the boats rock—it is fearful to look at! But here there must be a calm; and Sigtuna, that little interesting town where the old towers stand in ruins, like outposts along the rocks, reflects itself in the water.
We fly past! and now we are in Tyris rivulet! Part of a meadow is flooded; a herd of horses become shy from the snorting of the steamer's engine; they dash through the water in the meadow, and it spurts up all over them. It glitters there between the trees on the declivity: the Upsala students lie encamped there, and exercise themselves in the use of arms.
The rivulet forms a bay, and the high plain extends itself. We see old Upsala's hills; we see Upsala's city with its church, which, like Notre Dame, raises its stony arms towards heaven. The university rises to the view, in appearance half palace and half barracks, and there aloft, on the greensward-clothed bank, stands the old red-painted huge palace with its towers.
We stop at the bulwark near the arched bridge, and so go on shore. Whither wilt thou conduct us first, thou our guide with the white-and-black student's cap? Shall we go up to the palace, or to Linnaeus's garden! or shall we go to the church-yard where the nettles grow over Geier's and Törnro's graves? No, but to the young and the living Upsala's life—the students. Thou tellest us about them; we hear the heart's pulsations, and our hearts beat in sympathy!
In the first year of the war between Denmark and the insurgents, many a brave Upsala student left his quiet, comfortable home, and entered the ranks with his Danish brothers. The Upsala students gave up their most joyous festival—the May-day festival—and the money they at other times used to contribute annually towards the celebration thereof, they sent to the Danes, after the sum had been increased by concerts which were given in Stockholm and Vesteraas. That circumstance will not be forgotten in Denmark.
Upsala student, thou art dear to us by thy disposition! thou art dear to us from thy lively jests! We will mention a trait thereof. In Upsala, it had become the fashion to be Hegelianers—that is to say, always to interweave Hegel's philosophical terms in conversation. In order to put down this practice, a few clever fellows took upon themselves the task of hammering some of the most difficult technical words into the memory of a humorous and commonly drunken country innkeeper, at whose house many a Sexa was often held; and the man spoke Hegelianic in his mellow hours, and the effect was so absurd, that the employment of philosophical scraps in his speech was ridiculed, understood, and the nuisance abandoned.
Beautiful songs resound as we approach: we hear Swedish, Norwegian and Danish. The melody's varied beacon makes known to us where Upsala's students are assembled. The song proceeds from the assembly-room—from the tavern saloon, and like serenades in the silent evening, when a young friend departs, or a dear guest is honoured. Glorious melodies! ye enthral, so that we forget that the sun goes down, and the moon rises.
"Herre min Gud hvad din Månen lyser
Se, hvilken Glands ut ofver Land och Stad!"
is now sung, and we see:
"Högt opp i Slottet hvarenda ruta
Blixtrar some vore den en ädelsten."15
Up thither then is our way! lead us, memory's sprite, into the palace, the courteous governor of Upland's dwelling; mild glances greet us; we see dear beings in a happy circle, and all the leading characters of Upsala. We again see him whose cunning quickened our perceptions as to the mysteries of vegetable life, so that even the toad-stool is unveiled to us as a building more artfully constructed than the labyrinths of the olden time. We see "The Flowers'" singer, he who led us to "The Island of Bliss;" we meet with him whose popular lays are borne on melodies into the world; his wife by his side. That quiet, gentle woman with those faithful eyes is the daughter of Frithiof's bard; we see noble men and women, ladies of the high nobility, with sounding and significant family names with silver and lilies,—stars and swords.
Hark! listen to that lively song. Gunnar Wennerberg, Gluntarra's poet and composer, sings his songs with Boronees,16 and they acquire a dramatic life and reality.
How spiritual and enjoyable! one becomes happy here, one feels proud of the age one lives in, happy in being distant from the horrible tragedies that history speaks of within these walls.
We can hear about them when the song is silent, when those friendly forms disappear, and the festal lights are extinguished: from the pages of history that tale resounds with a clang of horror. It was in those times, which the many still call poetic—the romantic middle ages—that bards sang of its most brilliant periods, and covered with the radiance of their genius the sanguinary gulf of brutality and superstition. Terror seizes us in Upsala's palace: we stand in the vaulted hall, the wax tapers burn from the walls, and King Erik the Fourteenth sits with Saul's dark despondency, with Cain's wild looks. Niels Sture occupies his thoughts, the recollection of injustice exercised against him lashes his conscience with scourges and scorpions, as deadly terrible as they are revealed to us in the page of history.
King Erik the Fourteenth, whose gloomy distrust often amounted to insanity, thought that the nobility aimed at his life. His favourite, Goran Persson, found it to his advantage to strengthen him in this belief. He hated most the popularly favoured race of the Stures, and of them, the light-haired Niels Sture in particular; for Erik thought that he had read in the stars that a man with light hair should hurl him from the throne; and as the Swedish General after the lost battle of Svarteaa, laid the blame on Niels Sture, Erik directly believed it, yet dared not to act as he desired, but even gave Niels Sture royal presents. Yet because he was again accused by one single person of having checked the advance of the Swedish army at Bähüs, Erik invited him to his palace at Svartsjö, gave him an honourable place at his royal table, and let him depart in apparent good faith for Stockholm, where, on his arrival, the heralds were ordered to proclaim in the streets: "Niels Sture is a traitor to his country!"
There Goran Persson and the German retainers seized him, and sat him by force on the executioner's most miserable hack; struck him in the face so that the blood streamed down, placed a tarred straw crown on his head, and fastened a paper with derisive words, on the saddle before him. They then let a row of hired beggar-boys and old fish-wives go in couples before, and to the tail of the horse they bound two fir-trees, the roots of which dragged on the ground and swept the street after the traitor. Niels Sture exclaimed that he had not deserved this treatment from his King and he begged the groom, who went by his side, and had served him in the field of battle, to attest the truth like an honest man; when they all shouted aloud, that he suffered innocently, and had acted like a true Swede. But the procession was driven forward through the streets without stopping, and at night Niels Sture was conducted to prison.
King Erik sits in his royal palace: he orders the torches and candles to be lighted, but they are of no avail—his thoughts' scorpions sting his soul.
"I have again liberated Niels Sture," he mutters; "I have had placards put up at every street-corner, and let the heralds proclaim that no one shall dare to speak otherwise than well of Niels Sture! I have sent him on an honourable mission to a foreign court, in order to sue for me in marriage! He has had reparation enough made to him; but never will he, nor his mighty race, forget the derision and shame I have made him suffer. They will all betray me—kill me!"
And King Erik commands that all Sture's kindred shall be made prisoners.
King Erik sits in his royal palace: the sun shines, but not into the King's heart. Niels Sture enters the chamber with an answer of consent from the royal bride, and the King shakes him by the hand, making fair promises—and the following evening Niels Sture is a prisoner in Upsala Palace.
King Erik's gloomy mind is disturbed; he has no rest; he has no peace, between fear and distrust. He hurries away to Upsala Palace; he will make all straight and just again by marrying Niels Sture's sister. Kneeling, he begs her imprisoned father's consent, and obtains it; but in the very moment, the spirit of distrust is again upon him, and he cries in his insanity:
"But you will not forgive me the shame I brought on Niels!"
At the same time, Goran Persson announced that King Erik's brother, John, had escaped from his prison, and that a revolt was breaking out. And Erik ran, with a sharp dagger into Niels Sture's prison.
"Art thou there, traitor to thy country!" he shouted, and thrust the dagger into Shire's arm; and Sture drew it out again, wiped off the blood, kissed the hilt, and returned the weapon to the King, saying:
"Be lenient with me, Sire; I have not deserved your disfavour."
Erik laughed aloud.
"Ho! ho! do but hear the villain! how he can pray for himself!"
And the King's halberdier stuck his lance through Niels Sture's eye, and thus gave him his death. Sture's blood cleaves to Upsala Palace—to King Erik always and everlastingly. No church masses can absolve his soul from that base crime.
Let us now go to the church.
A little flight of stairs in the side aisle leads us up to a vaulted chamber, where kings' crowns and sceptres, taken from the coffins of the dead, are deposited in wooden closets. Here, in the corner, hangs Niels Sture's blood-covered clothes and knight's hat, on the outside of which a small silk glove is fastened. It was his betrothed one's dainty glove—that which he, knight-like, always bore.
O, barbarous era! highly vaunted as you are in song, retreat, like the storm-cloud, and be poetically beautiful to all who do not see thee in thy true light.
We descend from the little chamber, from the gold and silver of the dead, and wander in the church's aisles. The cold marble tombs, with shields of arms and names, awaken other, milder thoughts.
The walls shine brightly, and with varied hues, in the great chapel behind the high altar. The fresco paintings present to us the most eventful circumstances of Gustavus Vasa's life. Here his clay moulders, with that of his three consorts. Yonder, a work in marble, by Sargel, solicits our attention: it adorns the burial-chapel of the De Geers; and here, in the centre aisle, under that flat stone, rests Linnaeus. In the side chapel, is his monument, erected by amici and discipuli: a sufficient sum was quickly raised for its erection, and the King, Gustavus the Third, himself brought his royal gift. The projector of the subscription then explained to him, that the purposed inscription was, that the monument was erected only by friends and disciples, and King Gustavus answered: "And am not I also one of Linnaeus's disciples?"
The monument was raised, and a hall built in the botanical garden, under splendid trees. There stands his bust; but the remembrance of himself, his home, his own little garden—where is it most vivid? Lead us thither.
On yonder side of Fyri's rivulet, where the street forms a declivity, where red-painted, wooden houses boast their living grass roofs, as fresh as if they were planted terraces, lies Linnaeus's garden. We stand within it. How solitary! how overgrown! Tall nettles shoot up between the old, untrimmed, rank hedges. No water-plants appear more in that little, dried-up basin; the hedges that were formerly clipped, put forth fresh leaves without being checked by the gardener's shears.
It was between these hedges that Linnaeus at times saw his own double—that optical illusion which presents the express image of a second self—from the hat to the boots.
Where a great man has lived and worked, the place itself becomes, as it were, a part and parcel of him: the whole, as well as a part, has mirrored itself in his eye; it has entered into his soul, and become linked with it and the whole world.
We enter the orangeries: they are now transformed into assembly-rooms; the blooming winter-garden has disappeared; but the walls yet show a sort of herbarium. They are hung round with the portraits of learned Swedes—herbarium from the garden of science and knowledge. Unknown faces—and, to the stranger, the greatest part are unknown names—meet us here.
