Terra Cotta Model for Decoration in Faience 
Trygve Hammer 
By Edgar Holger Cahill 
It is difficult to write about sculpture. It is the old problem of 
representing one art with another, like singing a statue, or carving 
a poem. And yet it is possible that there is such a thing as carving 
a poem. I believe that Trygve Hammer has carved a great many. 
'‘Go and look at those carven poems of Hammer’s,” is what I should 
like to say to the readers of the Review. Since it is probable that many 
of them will not be able to do that, I may be pardoned for attempting 
to reduce these poems in wood and stone and marble to the meaner 
dimensions of everyday prose. 
Trygve Hammer was born in Arendal, a small seafaring town in 
southern Norway. At seventeen he went to Christiania to study at 
the Royal Arts and Trades School. He spent three years there. At 
the end of his second year in the school his father met reverses in 
business and he worked his way through the third year. Then followed 
a period of work and study and travel on the Continent, principally in 
Germany, happy years of a student’s vagabondage, when vivid im¬ 
pressions of art and life are stored up in the memory. The restless, 
roving spirit, which lives in so many of the sons of Norway, was strong 
