The western Democrat. [volume] (Charlotte, N.C.) 1852-1870, 1855-01-05
How Statues are Made.
THE GREEK SLAVE.


/ George H. Calvert. through the Literary World,
gives the following interesting account Of the pro-
cess of manufacturing statues, in a notice OF
Powers Greek Slave:
The Greek Slave is the second ideal work of
the American soul ptor, Hiram Powers-the Eve
being his FIRST The clay model was begun and
finished in the summer and autumn Of 1912.
American scuIptors having been hitherto obliged
to work abroad, but few of our citizens have OPP.
portunities of Witnessing the labors of the studio
acceptable, therefore, will be explanation Of
the several processes through which work in
sculpture must pass, the artist present his
conception smoothly embodied in marble. The
visitors the Slave will thus be made acquaint-
ed with the bodily birth and growth of the won.
derful 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 it, is to erect, firm pedestal, skeleton OF
iron, whose height, bredh and limbs, deter
mined by the size and shape Of the proposed
statue. In this case it would be above five feet
high with branches, first at the shoulders, run
ming 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 roughly built,
with wet clay, the predetermined image. Rapid
~ is this moulded into approximation to the
human form; and when the trunk, head, and
limbs have been definitely shaped, then begins the
close labor Of the mind. The living models are
summoned, and by their aid the surface Is wrought
to its last stage Of finish. With these breathing
figures before him. and through his precise knowl-
edge of the form and expression of every part of
the human body. obtained from the study Of ma
ture and his deep artistic intentions, the clay
under his hand gradually grew into life, as it as
sumed the eestic, vital loox, which ami.
| tomcal knowledge or craft can give, but which is
impaired by the genial sympathy with natures
living forms in alliance with a warm sensbty to
the beautiful qualities which crown and render eE.
fectual the other less elevated endowments for art.
Thus, by the most minute manual labor, directed
by those high and refined mental gifts, the clay
model Of the Slave was wrought out; and here
the artists work ended; the creation was com
plete. The processes whereby it was now 10 be
transferred to marble, though Of delicate, diff
cult kind, and requiring labor and time, pure
ly mechanical. and are performed, under the art
lists direction, BY uninspired hands.
In order that the soft clay image be transformed
into harder substance without suffering the
slightest change in its surface, mould is applied
to it, in the same way and with the same material
as when cast is taken Of the living lace head,
| by means of semiquid plaster of Paris. The
clay figure is entirely covered with this substance
| from one or two or more inches thick, provision
being made Cor taking off the and for split
ing the trunk after the plaster shall have harden.
ed. The clay is then all taken out, the hollow
mould is cleaned, and then refiled with semi
| liquid plaster Of Paris. When this, which now
occupies entirely and infinitely the place of the
clay has IN lis turn become hardened, the outside
crust of plaster is broken from it, and then is laid
bare exact fac sme of the orig inal clay figure
in hand, smooth plaster of Paris, capable Of bear
| ing the usage of the studio, and of receiving the
many marks that to guide the marbe-cutters,
whose work now begins.
| First comes the bocker.out, with his heavy
mallet and coarse chisel, under whose rough
blows the whole block soon begins to grow into a
rude likeness Of humanity. Then finer work.
man. who loosens more Of the folds that over.
lay the beaming image that the artist is bent on
disclosing from the centre of the marble. And,
finally, the artist himself, Or as in this case re-
fined worker, schooled under the eye of Powers
gives the finishing touches, reproducing, with un-
surpassed accuracy in the transparent, pure mar
! bic, every swell and ndentation, and minutes
carve, all the countless delicacies of detail, the
which, combined with and forming grand sweep.
ing lines, characterize the original moulded in
clay by the hand of Powers.
Eating Meat.
The Americans are the greatest caters OF animal