us who can afford to buy the whole batch of them, and do it quickly,
before any more of them are sold singly. It takes more time to enjoy
these little fairy tales than one can afford to give to them. They
possess everything a good illustrative painting ought to have. A wealth
of ideas imaginatively represented, good drawing, and intimate feeling
tell of the keen pleasure the artist must have had in producing these
gems.

As an illustrator, though very different, Carl Larsson appeals in a
comprehensive group of pictures in another gallery. Carl Larsson's
extraordinary resourcefulness in getting everything he needs out of the
confines of his home has for years been the cause of his great
popularity abroad, and in his thirty-three cheerful drawings he
discloses his entire home life, in all the variety of happenings which
makes married existence a success. His drawing is faultless, his sense
of colour supple and refreshing, and his ability to make such extensive
use of the relatively narrow atmosphere of his home without exhausting
it proves his caliber. Larsson has a roommate of great distinction and
modesty in Oscar Bergman, who has contributed some twenty tender bits of
northern landscapes and marines. They are reminiscent of the Japanese,
although it becomes almost foolish to think of the Japanese every time
someone develops a capacity for acute observation and drawing. Bergman's
little lighthouse is particularly convincing and, like most of these
things, should not be allowed to return to the artist.

I shall probably have to retrench in attention to the American section
if I keep on giving pages to this section. But in spite of their great
merit, the work of Kallstenius, Schultzberg, Carlberg, and Osslund will
have to go with only meager reference. Osslund's pictures are somewhat
startling at first, owing to a complexity of technical treatment. He