Richmond enquirer. [volume] (Richmond, Va.) 1815-1867, 1855-07-06
MISCELLANEOUS.
HOW STATUES ARE MADE.

The GREEK ~SLAvE.-George II. Calvert, through
.he Literary World, gives the following interesting
account of the process OF manufacturing statues, in n
notice of Powers Greek Slave:
The Greek Slave is the second ideal work Of the
American sculptor. Hiram Powers-she Eve being
HE first. The clay model was begun ana hnisncd IN
the summer and autumn of 1912. American sdulp-
tors having been hitherto obliged to work abroad, but
few of our citizens have opportunities OF witnessing
the labors of THE studio; acceptable, therefore, will be
some explanation of the several processes tnrougn
which a work in sculpture must pass, ere the artist
can present his conceptions smoothly embodied IN mar
bile. The visitors to the rSlave" will thus be made
acquainted with the bodily birth and growth OF the
wonderful creation that stands before them In
dazzling beauty.
The conception being matured in the artists mind,
the first step in the process of giving form to 1t, 10 to
erect on a firm pedestal, n skeleton OF iron, whose
height, breadth, and limbs, are determined by the SIZE
and shape OF the proposed statue. In tins case 1t
would be above five feet high, with b%ranches, first ut
the shoulders, running down forward for the arms,
then at the hips, to support the large mass OF clay in
the trunk and thence divided IN two for the legs.-
About this strong simple frame Is now roughly built,
with wet clay the PREDETERMINED image. Rapidly is this
moulded into an approximation to the human form;
and when the trunk, head and limbs have been def
ni,sly shaped, then begins the close labor OF the mind.
The living models are summoned, anu by their AID inc
surfscs is wrought to its last stage OF finish. With
these breathing figures before him, and through his
precise knowledge of the form and expression OF eve
RI part Oh the nulnu UOuyS ootdincu iNm IL
study OF nature and his own deep artistic intentions,
the clay under his hand gradually grew into life, as
sumed the elastic, vital look, which no mere anntOmi-
cal knowledge or craft can give, but which is impart-
ed by the genial sympathy with nature living forms
in allianee with O warm sensibili.y to the beautiful
Qualities which crown and render etfectual the other
less elevated ~emiOwments for art. Thus, by the most
minute manual labor, directed BY those high and
rehned mental gifts the clay model OF the Save
was wrought out; and here the artists work
ended the creation was complete. The pro-
ccsses whereby it was now 10 BIZ transferred to
marble, though Of C. delicate, difficult kind, and re-.
curing iaoor and time, are purely mechanical, ano
are performed, under the artists direction, by unin'
spired hands.
In order that thu soft clay image be transformed
into \ hardcr substance without suffering the slight.
et change In Its surface, a mould il applied to il in
the same way and with the same material as when a
cast Is taken OF the living face or head, by means OF
semi-liquid plaster Of Paris. The clay figure is en-,
tirely covered with this substance from Que or two or
more inches thick, provision being made for taking
of the arms and for splitting the trunk after the nlar..
Ter shall have hardened. The clay is then all ,akou
ont. the hollow mould is cleaned, and then re6usJ
with semi.liquid plaster of Paris. When this, which
now occupies entirely and minutely the place of IN,
clay, has in its turn become hardened, the outsid,
crust of plaster is broken from it, and then is laic
bare an exact fac. simile Of the original clay figure i,
hard, smooth plaster of Paris, capable of bearing tn
usage of the studio, and OF receiving the many mark
that are to guide the marble cutters whose worl
now begins.
and coarse chisel, under whose rough blows tn
whole block soon begins to grow into a rude iikenes
of Humanity. Then q finer workman, who looser
more of the folds that overlay the beaming ilnage tn
the artist is bent on disclosing from the centre OF To
marble. And, finally, the artist himself, or, a. IN thu
case, a refined worker, scho0led under the eye OF row
ere, gives the flushing touches, reproducing, with ar
surpassed accuracy in the transparent, pure marbl,
every swell and indentation, and minutest carve. q
the countless delicacies Of detail, the which, combine
with and forming grand sweeping lines, characters
the original as moulded in clay BY the hand ofPowsrs