The Toledo chronicle. [volume] (Toledo, Tama County, Iowa) 1873-1924, 1875-01-28
Modelling ia Clay.

THIS belongs to the highest order of
art, and yet how few ladies have courage
to practice it. Not because it is alto
gether beyond the ordinary talent of
cultivated woman, but generally because
it is so little understood by those who
would really be well fitted for such artistic
work.
To model in clay is to prepare the de-
sign from which the sculptor is to work,
and, although the modeler may never
touch chisel or mallet, the real credit
Of the statuary will belong to the head
and hands which designed and executed
the graceful model. The material from
which it is nodded is the white pipe-clay,
and the tools required are but few, for
the fingers and thumbs will be of more
use in bringing it into shape than any
mechanical instruments could possibly
be.
1t might be thought that this working
in clay would be very dirty employment,
from which any lady would shrink, and
not to be practiced on carpeted floors,
but not so; the clay itself is white and
odorless, and can very easily be removed
from the hands with water, and with a
drugget or other covering spread down
beneath the operator no damage need
ensue to carpets or furniture.
The subjects easiest for beginners will
be those in what is known as low relief.
These are not rounded or separate
figures like statues, but are built upon a
flat ground, showing only half the cir
conference. To begin, then, take
some simple subject, such as vase, and
have ready marble slab, or one of slate,
on which should be drawn the outlined
shape Of the intended model. A plaster
cast will be good thing to copy FROM
Having wet the clay and reduced it to
wet and sticky mass, lay it on the slab,
carefully keeping within the bounds of
the outline, and pressing it down to
make it adhere. Another and another
thick coating Of clay will now be added,
until it is gradually built up to a
rounded shape, the fingers and thumb
doing duty in pressing it into shape until
the outline figure of vase becomes
apparent. Then by means of simple
lockwood tools. made smooth like
fingers, the ornaments are nodded, until
the whole design is satisfactorily accom-
plished; but it is necessary to have the
work kept damp during the process by
covering it with wet cloth.
Having successfully completed one of
these simple models the amateur will
wish to try something higher, and a mask
or fiat head will take her step higher,
and teach the art of forming features.
For this smooth board will answer as a
foundation, the plaster cast from which
We copy being placed at one end and the
clay model upon the other, lying fiat.
After wetting the board you lay on the
clay, pressing and smoothing it down
with the thumbs until the oval face
shows itself; then will follow the prom
inent points of the features, the thumbs
answering every purpose until the fin
ishing details are reached, when tools
must be used to bring out the minutia Of
hair, eyebrows, lashes, etc, never leav-
ing it until entire satisfaction is at
tanned
From these you proceed higher to SUBJ
jects Of still-life, foliage, architectural
ornaments, ETC., and last of all the rep
reservations of the full-length human
figure will crown your efforts and repay
you for all the tedium of your initial
studies.
The sculptor's work is the reverse of
this, for he takes the solid block and
cuts 1t down until the proportion and
shape Of the model gradually appear,
while in modelling you really build up
your work by adding layer upon LAYER.
The main part Of the chiseling and hack.
ing can be done by an assistant, but the
true genius of the sculptor consists in
these very models wherein are embodied
the original thoughts and ideal, and al
though . lady may lack strength to
handle the rougher tools used by the
sculptor himself she can conceive and
form the clay model from which may be
wrought the grandest dreams in marble.
-Harpcr's Boar.