The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1867-01-12
a statue-How IL is Made.

the sculptor, he makes a sketch in chalk
or charcoal, on paper. Before he begins
the final model, a sketch or study in
clay is made, from one foot to TWO feet
in height, to get the pose and balance of
the figure. A good practice in all that
pretendS to busts, statuettes, statues, or
figures ofcolossal proportions, that is a
preparatory study.
Then begins the work in earnest. A
platform is prepared of strength in pro-
portion to the weight of the CLAY model
it has to bear, and the platform is so
made to either revolve on its own CEN
tire, or, supported by strong castors, to
movedn any direction or light required.
Then the skeleton is constructed to suit
the proportions of the projected statue,
OF iron and wood, with joints to meet
all demands of movement of arms and
limbs, in any direction desired.
Sometimes strong upright of iron,
we'll braced at the base, from which
projects an arm on which to suspend
the skeleton midway between the shout
ders at the back, mode that gives the
sculptor perfect control of his work.
and very practical in modelling stat
uetteS and small equestrian statues,
If the statue is a sitting figure, or re-
cumbent, most of the body and Access
series can be made of wood and covered
with clay. For life-size statues, the
skeleton or bones of the arms and legs
are made of strong lead pipe, of an
iEch or more in diameter, and bent to
suit any action of the limbs required
Lead pipe is perforated, in which to in
sert pins of wood to support the clay
that may be applied to the arms or legs.
When the skeleton is completed to The
throat, ball and socket joint is requis-
lite for the ease and graceful action of
the head, which can be moved at any
time by having a stopscrew at the back
of the neck between the shoulders.
Colossal statues, of ten or twelve feet
in height, require lead pipe two inches
and a half TO three inches in diameter,
for the bones of the arms and legs
After the skeleton is finished, the clay
is packed firmly and closely as possible
on the skeleton somewhat larger than
life, or the intended statue, let it be
great or small. Then begins the work
of modelling, at first from great studies
in plaster, and finishing from life mod
els. After the models completed in the
nude state, with all the desired proper
tions, it is draped to suit the character
or person for whom it is intended. The
sculptor then reviews the whole work
from head to foot, for by that time he
has decided what kind of expression
he intends to give the face, and puts
the finishing stroke to it. The soul of
sculpture is in producing the model. 1t
takes man of genius to make statue
III clay, but man of talent can carve it
in marble.
We would like to pass over the sub
ject of expression, were it not INSOFAR
able from a complete bust or statue.
Twenty-Five years ago a grand re-
pose" was all the rage, from the solidi-
ty of a mule to the imperturbable grav-
ity of AS mud-turtle. Our people are
progressive, and have learned to love
and admire works that have life and
animation in them. Some people, like
their characters, have no expression at
all. For instance, the sporting man
soon learns to suppress all the nobility
of his face, while others never had any
to wipe out"
Others again, whose faces have no
more expression than pealed turnipS or
stone-walls, that look TRANQUILITY, and
whose eyes remind one of pewter but
tons set in lard. Such faces would do
for the grand repoSe so much admired
by connoisseurs Hand antiquarians"
There are three expressions peculiar to
man, to say nothing of ten thousand
gradations that intervene. First, there
IS the emotional face, such as a man
wears while talking to children, or con-
versing with n charming woman. A
bust of man so treated would be re-
cognized by ladies and children, but
never by his male friends.
2. The animated, or intellectual face,
such as we see in the pulpit and forum,
all the muscle of the face rigidly alive,
such as statesman would have while
chastising an erring brother for getting
astride of the political fence.
3. The last, highest and most diff
cult to impress on convass, or in mar
BILE, the illuminated face, lighted up
with the memory of Il serious deed, or
beautiful thoughts. The last two ex-
pressions are appropriate for busts and
statues; but the first, never-which
would only become the SimperinE syc-
nh n nd hTrTNnnrTfn ,nI,
in the portraits of Sterne and others.
But how are those desirable express
sions produced? IT'S is one of the mys-
teries of the studio. This much is
certain. 1t requires a man of brains to
give the impress of mind to matter
that is to the canvas and marble. No
man with monkey characteristics can
ever go beyond producing the outline,
or material form. Such n man is n
stranger to the pure expression of soul,
and beautiful thoughts divine. Ali
great works are, more or less, the re-
production of the artists or poets sec
ond self.
Our statue is finished; the last i'm
press of the sculptor, the last affection
ate touch has been given. 1t is like the
parting of the poet with his loved man
uscript. The statue must be cast. Why,
is the prompt inquiry? To prevent it
from contracting, or losing any of its
plaster of Paris in sections, over the
model. When completed, the mould is
removed and the clay model DESTROYED.
The mould is carefully cleaned and
prepared to receive the plaster which
takes the place of the clay.
When all the sections made in plaster
from the clay model are neatly Joined
together, so as to look like a complete
whole, the plaster model then is ready
to be transferred to the foundry to be
cast in bronze, or taken from the studio
into the caryer's shop, where it is copied
into stone or marble, by absolute meas
urement.
Such has been the custom among
sculptors for hundreds of years. We
regret to say, however, that there are
several popular fallacies atloat,-such
as Michael Angeles graphing with the
marble at once, without the aid of mod
els.
Did he not make snow statues in the
dukes garden to amuse his guests
There are clay models, made by
Michael Angelo, at the present time
preserved in the city of Florence. All
the race of American sculptors in
Europe have their models copied into
marble by Italian sculptors or carvers.
The Condition of the Freed People
About Fortress Monroe.
A correspondent writes as follows to
the Philadelphia Ledger:
An eyewitness, who has just return
ed from Fortress Monroe, describes the
restitution of the negroes in the region
thereabout as heartrending. Great
numbers of these people, during the
war and since have crowded thither for