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its strength and its limitation, its strength, because this certainty
in the ornamental treatment of wood forms a good, firm
starting-point [[** sjk]] for further artistic training; its limitation, because it is a
long time before the artists trained upon this basis can entirely
shake off tradition, and turn from the ornamental which is their
strong point, to the free representation of the human figure, which
is the chief domain of sculpture. All our earlier, peasant-born
sculptors have been far more talented as ornament-carvers than as
sculptors, and have therefore often had a hard fight to assert
themselves in the foreign domain, and in strange conditions.

Magnus Berg: The Shepherds Worshipping Christ.

The series of our century’s Norwegian sculptors begins with
Hans Michelsen (1789—1859), who struggled all his life with hard
circumstances. As a soldier, he attracted the attention of his
superiors by his wood-carving, and from 1819 to 1826, he received
annual aid which enabled him to study in Rome under Thorvaldsen.
After his return in 1826 to Norway, his circumstances became
continually more straitened, so that he at last thought of giving
up his artistic career, and returning to his native parish, when
warm-hearted men, though too late, helped the old sculptor to
obtain some orders. His chief works are the figures of the 12 apostles
in Trondhjem Cathedral, executed by order of King Carl Johan.

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