significant that such earnest students of precise excellence in another art should first of all have schooled their eyes to exactitude by grappling with form and color.
In 1843, being fifteen years of age, Ibsen was confirmed and taken away from school. These events marked the beginning of adolescence with a young middle-class Norwegian of those days, for whom the future proposed no task in life demanding a more elaborate education than the local schoolmaster could give. Ibsen announced his wish to be a professional artist, but that was one which could not be indulged. Until a later date than this, every artist in Norway was forced abroad for the necessary technical training: as a rule, students went to Dresden, because J. C. Dahl was there; but many settled in Düsseldorf, where the teaching attracted them. In any case, the adoption of a plastic profession meant a long and serious expenditure of money, together with a very doubtful prospect of ultimate remuneration. Fearnley, who had seemed the v
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