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sea-coast; 1025. C. H. d’linker, Third-class waiting-room; 1056. F. J.
Fagerlin (6., b. 1825), Jealousy; 1316. J. Kronberg, Huntress Nymph; 967.
J. Fr. Höckerl, Lapland interior.
I. Cabinet: 9o5. Fahlcranlz (S., 1774-1S61), View of Kalmar Castle hy
moonlight.
II Cabinet: 1028. J. IF. Wahlbom (S.. 1810-58), Death of Gustavus
Adolphus; 1197. X. I. O. Blommér (S., 1S16-53), Neck and the daughters
of Ægir, a scene from northern mythology; 1356. L. A. Lindholm, Interior.
III. Cabinet : J. O. Wickenberg, *1244. Winter landscape, 1245. Landscape
with cattle; 1215. <S. M. Larson, Sea-piece; 1207. J. F. Höckert, Wedding
in Lapland; 1225. B. Nordenberg, The worried sheep.
IV. Cabinet: 1238. H. A. L. Wahlberg, Landscape; 991. Am. Lindegrfn
(S., h. 1814), Girl with an orange.
V. Cabinet: 1113. r. D. Holm (S., h. 1835), Swedish forest; 1156.
G. Salomon (S., h. 1821), Young girl with an open letter in her hand.
VI. Cabinet: 1362. H. Salmson (S., b. 1843), Youthful gleaner;
954. Fagerlin, Fisher-boys smoking; 1210. Aug. Jernberg, The broken pipe;
1112. Agnes Börjesson (S., b. 1S27), Old love; 1204. Fagerlin,
Convalescence; 1293. O. v. Rosen, Portrait; 1059. 6. Rydberg, Landscape; 1364.
Fagerlin, Dutch interior.
We now proceed through the Saloon and the Ante-Room to the three
Cabinets adjoining the Italian and Spanish Saloon, mentioned at p. 338.
I. Cahinet: 1275. Morten Muller, Norwegian landscape. — II. Cabinet:
1267, 1285, 1336. C. Hansen, The visit, Peasant family mourning, A
dangerous witness^ 1263, 1266, 1264, 1265, 1343. //. F. Glide, Among the rocky
islands (Skeergard), Old seaman and boy, Mountain-landscape in Wales,
Three sea-pieces; 1277. A. Tidemand, Fortune-teller and Dalecarlian
peasant-woman. – III. Cahinet. 1279. Melbye, Sea-piece.
We now return to the Ante-Room, where the most recent purchases
are usually hung. Also 1396. G. v. Rosen (S., b. 1843), Portrait of
Nor-denskjuld;’ 1247. M. E. Winge (S., h. 1825), 119S, 1252. Arbo (>., b. 1831),
Scenes from northern mythology; 1222. Malmström, Ingeborg receiving
tidings of lljalmar’s death; 1026. Wahlberg, Swedish landscape; 12S2. (’.
F. Sorenson (D., 1818-79), Sea-piece; 1363. G. O. Cederström, The corpse of
Charles XII. (p. 278) on its way to Sweden (winter-scene). — Regaining
the staircase, we descend and quit the building.
The open and partially planted space in front of the N.W.
facade of the National Museum is embellished with the
*Bältespän-nare (/girdle-duellists’), an admirable group in bronze, the
masterpiece of Molin, the talented Swedish sculptor. It represents one
of those murderous old Scandinavian duels in which the
combatants were bound together with their ‘belts’ and proceeded to fight
out their battle with their knives. As these ‘Knifgånge’ often
terminated fatally to one or even both the duellists, the women used
to carry a winding-sheet for their husbands to banquets where
quarrels were likely to arise ^comp. Pontoppidan’s ’Første Forseg
paa Norges naturlige Historie’, Copenhagen. 1752; and
‘Fani-tullen’, a Norwegian poem by Moe). The four reliefs on the
pedestal, with their Runic inscriptions from the Edda, represent the
origin and the issue of the combat.
1. Drinking. ‘Är ikke så godt, som godt (de) säga, öl (för) menniskors
söner; ty allt mindre vet, som mer dricker, lill sitt sinne mannen’. (‘Not
so good as good they say it is, is ale for the sons of men; for the man
knows in his mind always less, the more he drinks’.) — 2. Jealousy.
‘Galna från kloka görer menniskors söner han den mäktiga kärleken’.
(‘Mighty love makes fools of wise snn9 of men’.) — 3. Beginning
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