This hall contains all of the original full-size plaster models for the bronze fountain in the Vigeland Park. The central group with the six giants supporting the large basin are surrounded by twenty "fountain tree groups" and 60 reliefs.

Six men carrying a large basin, 1909. Plaster.
H. 3,70 m. Width of basin 4,60 m.

The supporting motif of this central group is well known in history of art. The giants carrying the basin may also be seen symbolically as man bearing the heavy burdens of life.

Fountain tree groups, 1907-14. Plaster.
H. 2 m.

Although clearly indebted to Symbolism and Art Nouveau, the tree groups are more original in concept than the carrying motif of the central group. In some of the tree groups the branches of the tree form a space enclosing the figures.

The tree may also take on fantastic shapes such as an animal with a long neck, or even become an active organism as when binding an unhappy couple together. The combination of human beings and trees is a romantic expression of the relationship of man to nature. The tree may also be seen as "the tree of life", a symbol of fertility, growth and the regenerative process. The placing of the groups of trees forms a continuous story of the stages of human life from cradle to grave. The portrayal of life begins with a tree entwining newly-born babies and ends in a tree with a skeleton figure scarcely differing from the tree itself. The young girl who glides wonderingly through a tree's branches may be seen as a poetic presentation of puberty - behind her is innocence of youth and soon is she an adult and a woman

Reliefs, 1910-36. Plaster.
55 cm x 60 cm.

A continuous sequence of 60 reliefs is set into the wall of the bronze fountain. The constant delay in erecting the fountain gave Vigeland ample time to work on new ideas. In all he created 112 relief plaques before he made his final choice. Although many of them are imaginary, the 60 reliefs on the gallery's four walls repeat the life cycle of the tree groups, but in greater detail and variation in subject-matter. The reliefs also introduce the relationships of man to animals.

Vigeland was always taken up by the relief form. He has expressed the opinion that it should be possible to comprehend a sculpture by seeing it from one side only. It is thus characteristic of him that he modelled many of his subjects both in relief and round. (See room IX).