602 
THE AMERICA N-S CAN DIN AVIAN REVIEW 
gained his former strength and health, however. He wished to resign 
from his professorship, but by the desire of the king he was asked 
to remain “for the honor of the Academy.” He suffered a stroke of 
paralysis, and laid his weary head to rest January 10, 1778. With him 
a star of the first magnitude on the scientific firmament was extin¬ 
guished. 
Generations have passed since then, but the seed he scattered is 
still growing, and the laws he wrote will continue in force as long as 
there is a plant or an animal left to classify. The guiding principle of 
his life was expressed in the motto: Tantus amor florum: “How great 
was his love for flowers!” 
Anders De Wahl 
By Yngve Hedvall 
Anders De Wahl—the name suggests a whole chapter in the 
history of the modern stage in Sweden. For De Wahl was one of the 
actors who, at the opening of the present century, forced Swedish 
theatrical art into a flowering period as brilliant as it was brief. It 
was a time which gained lustre from the fact that it coincided with 
the most productive period of our greatest dramatic writer, August 
Strindberg. Since then the Swedish stage has not always been able 
to maintain this height—though we have never lacked excellent if 
sporadic offerings—but the lessening glory has certainly in no way 
been attributable to Anders De Wahl. He is as enthusiastic, as fiery, 
and as prodigal with his gifts as he has always been, and even the fact 
that he has passed the half century mark in his own life seems in no 
way to detract from the youthful glamour of his acting. 
De Wahl’s scenic talent grew naturally out of his environment. 
His father was a gifted musician who played at the theatres. His 
mother was an unusually charming and popular singer and actress. 
His own artistic bent has found many expressions. He writes verses 
and short plays; he paints; he is an interested floriculturist and a con¬ 
noisseur of antiques. 
After finishing as a young man the course in the training-school 
at the Royal Dramatic Theatre, he travelled for a few years with some 
of the best theatrical troupes of the country. Since 1896, however, 
he has been identified with the stage of the capital, first playing at the 
most important houses of the theatre king, Ranft, and afterwards at the 
