Carlo Norway (1886 – 1916 – 1927) He studied art at Colarossi’s in Paris, and at the Royal Academy in Dresden, travelling in Europe and working in a variety of modes. Ezra Pound had a long hostile notice of him in May of 1919: THE ADELPHI GALLERY (9, Duke St., W.C.2) we find Mr. Carlo Norway in an aggravated state of utter uncertainty, hoping to please everybody at once or at least to put into the show something, anything,one thing at least which will be bound to to every possible entrant. Sic: Russian Balletism in 1 ; ecclesiastical windowism in 2 ; bilge sans adjective in 3; society decorative portraitism in 8; muzzy paint in plain water colour in 10. No. 14 is labelled (?? panchromist??), apart from which it looks like a bad design for stained-glass window without need of further adjectives or other supposed theory of construction. 17 hopes towards Beardsley For 18 vide 10. 21 is not bad; 22 is possibly the best in the room; the artist might settle or at least perch for a few weeks on this genre; 23 for Vogue; 26 fake orientalism ; appliqué feltism, wobble-goggle symbology ; 31 blue beard; and then, bless us and save us–is the man going to omit no chance of ultimate immortality, whatever weather-vane of fashion point to whatever undiscovered North ?–the mildest possible vorticist-vortexette (rather as in 1915) in 34, 35, 36, in the playful mood of the scout’s text at Heal’s. For 43 vide 3′ appeal Panchronist decay. Resurrection, 1919, L’Ecrivante. . (NA 25.5:89) We always try to locate images of the specific works discussed in the journal. In this case, much as we would have liked to see what Pound was discussing, we have been unable to locate images of Norway’s work. We would be glad to learn of any.