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IV. EDUCATION AND MENTAL CULTURE IN SWEDEN.
after having previously been philological. The history of literature and art were
now considered as applied esthetics. This tendency was introduced by the
pioneering work of L. Hammarsköld (1785/1827), »Swedish Literature» (1818),
which, however, is now oldfashioned. On the other hand, a work which has still a
scientific value, is the clever and delightful »Swedish Seers and Bards» (1841/55)
by P. D. A. Atterbom (1790/1856), a chronological series of portraits of
Swedish poets, delineated with a psychological delicacy and noble breadth of
view that reminds one of Sainte-Beuves. This tendency reached its perfection in
G. Ljunggren (born 1823), from whose hand we possess a fine esthetic
examination of Bellman’s poetry, a history of the Swedish drama up to 1665, and,
finally, an extensive and conscientious history of Swedish poetry from the death
of Gustavus III down to the middle of the 19th century.
Amongst our younger historians of literature a new tendency, however, has
made itself felt, partly in consequence of the influence of Taine and Brandes.
For them literary history is no longer esthetic or philological, but a branch of
history, and the history of Swedish literature is conceived by them as the history
of Swedish culture, as far as this falls within the domain of literature. The chief
weight is therefore laid on showing how literature itself reflects the humour of
the people, the period itself, and the peculiar individuality of an author. This
view is held more particularly by the pupils of C. R. Nyblom (born 1832),
among whom is noticeable H. Schück (born 1855), Professor in Uppsala, K.
Warburg (born 1852), Librarian of the Nobel Institute of the Swedish Academy,
and O. L ever tin (born 1862), Professor at the Private University of Stockholm.
Besides other works, Schück has published the first volume of an extensive
History of Swedish Literature, and has, together with Warburg, written a leas
comprehensive sketch of Swedish literature down to the most recent times.
Warburg has enriched literary history with several interesting monographs, and
Levertin is known for a series of splendid delineations of the days of Gustavus
III. Among other authors the following may be noticed: C. D. af Wirsén
(born 1842), Secretary of the Swedish Academy, E. Wrangel (born 1863),
Professor at Lund, and O. Sylwan (born 1864), Professor at the Private University
of Gothenburg.
History of Art.
P 8- History of Art is also a recent science in Sweden. It was Neo-Romanticism,
in the beginning of the 19th century, that called it into being. The ardent
champion for the »New School», L. Hammarsköld (1785/1827), in 1815, gave
lectures upon the subject, which, in 1817, appeared in print But the first to
undertake any researches was K. G. Brunius (1792/1869), professor of Greek
but also an architect and art historian, in which latter capacity he, already in
1836, began to write about our old churches, which he studied by traveling
about in the country. Next to that, text-books were being written and lectures
held upon the subject: that being done by K. J. Lenström (1811/98), who,
in 1848, published his Handbook in the History of Fine Arts; this, by A.
Sold-man, who, 1849/68, was a teacher in History of Art at the Academy of
Arts and during that period published »Treatises and Essays on subjects out
of Cultural and Art History». Now the ice was broken, and in 1867 the
first modern work arrived from Finland — »History of the Fine Arts, from
the end of the 18th century», by C. G. Estlander (born 1834). Shortly after
— 1872/76 — Fr. Sander (1828/1900) published his fundamental work »The
National Museum, contributions to the history of the picture gallery», the fruit of
his function as an amanuensis at the National Museum, besides which he, at a
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