The star. (Cincinnati [Ohio]) 1874-1875, 1875-01-13
Modelling In Clay.

This belongs to the highest order of
art, and yet how few ladies have cour-
age to practice it! Not because it is al
togethe beyond the ordinary talent Of
a cultivated woman, but generally be-
cause 1T 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 modeier 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,
tor the fingers and thumbs will be OF
more use in bringing it into shape than
any mechanical instruments could possi-
bly, 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 80; the clay itself Is white and
sdorless, and can very easily be rem0v-
ed 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 fig
ures, like statues, but are built upon q
fiat ground, showing only hall the cir
cumference. To begin, then. Take some
simple subject, such as vase, and have
ready O marble slab, or one OF slate, on
which should be drawn the outlined
| shape OF the intended model. A plaster
cast will be a good thing to copy from.
Having wet the clay, and reduced to a
wet and sticky mass, lay it ON the slab,
carefully keeping within the bounds OF
the outline, and pressing it down to
make 1t adhere. Another and another
thick coatingof clay will now be added,
until it is gradually built up to a round
| ed shape, the fingers and thumb doing
duty IN pressing it into shape until the
outline figures Of a vase becomes appar-
ent. Then by means of simple lockwood
tools, made smooth like fingers, the Or
naments are nodded, until the whole de-
sign is satisfactory Accomplished; but 1t
| is necessary to have the work kept
damp during the process by covering it
with a wet cloth.
Having successfully completed one OF
these simple models, the amateur will
Fwish to try something higher, and reach
the art OF forming features. For this a
smooth board, will answer as a iounda-
tion, the plaster cast from which we
copy being placed at one end, and the
clay model upon the other, lying fiat.
Alter 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 promine.,t
points of the features, the thumbs an.
swerIng every purpose until the finishing
details are reached, when tools must be
used to bring out the minuti@ oi
hair, eyebrows, lashes. ETC., never leay.
| ing it until entire satisfaction is attain
ed.
From these you proceed higher to sub
jects oil still-life, foliage, architectural or
naments, etc., and, last oil all, the repre-.
isentations OF the iull length human tg
ure will crown your efforts.
The sculptor's work is the reverse OIL
this, Tor he takes the solid block and
cut its down until the proportion and
shape Of the model gradually appears
while in modelling you really built W
your work by adding layer upon layer
The man part OF the chisellng and hack
ing can be done by an assistant, but the
true genius OF the sculptor consists III
these very models, wherein are embodied
the original thoughts and ideal, and al
though lady may lack strength to
handle the rougner tools used by the
sculptor himself, she can conceive and
form the clay-m0del from which may be
wrought the grandest dreams in marble
I-Harper's Bazaar.
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