A gathering of figures emerges from a dark, textured background, their forms rendered in thick, swirling strokes of paint that create a sense of movement and mystery. At the left, two seated figures appear closely grouped, their faces and garments suggested by pale highlights against the shadowy ground. Near the center, a childlike figure stands at the feet of a taller, upright figure dressed in light tones, while three more standing figures cluster beside them, each marked by delicate touches of white and gray.

The background is dense and dark, with only a few lighter passages suggesting foliage or a forested setting, enveloping the scene in an otherworldly atmosphere. The paint is applied thickly, with visible impasto creating a tactile surface that catches the light and gives the figures a shimmering, spectral quality. There is little linear definition; instead, forms dissolve into one another, reinforcing the dreamlike, fairy-tale mood suggested by the title.

At the lower right, a pale, four-legged animal stands beside a seated figure, its head lowered and body rendered with loose, energetic strokes of white paint. The far right edge features a solitary figure in a voluminous dress, partly turned away and separated from the central group by a patch of dark background. Near the upper left corner, the paint is heavily textured, with swirling marks suggesting foliage or tree trunks.

A faint vertical division in the background, just right of center, hints at a possible tree or architectural element, breaking up the darkness. Light falls most strongly on the central standing figures and the animal, while the corners and upper background remain deeply shadowed. The lower left corner contains a dense buildup of paint, with indistinct forms blending into the ground.

Across the bottom edge, streaks and dabs of white and gray paint create a mottled effect, suggesting uneven terrain or scattered leaves. The figures’ faces are only loosely indicated, with blurred features and soft edges that merge into their surroundings. Throughout the composition, broken lines and dashes of paint interrupt the forms, emphasizing the painterly surface over clear contours. The painting is part of the Charles H.

and Mary F. S. Worcester Collection, as noted by the Art Institute of Chicago.